FANTASTIC COLOR PHOTOS!
H.G.WELLS to NASA
! COMICS H!
Superheroes in Hollywooi
Arthur C. Clarke v V'
Rod Serling, Etc.
Books, Records, Conventi6rj
FALL PREVIEW* Year
ALPHA DATA BOOK !
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CAVORTING WITH BIG FOOT
Lindsay Wagner hugs Ted Cassidy during a break in
the filming of "The Return of Big Foot" — a two-parter
that opens both Six Mi/lion Dollar Man and Bionic
Woman for ABC's fall television season
(see page 24).
Business and Editorial offices:
O'Quinn Studios, Inc.
180 Madison Avenue, Suite 1503
New York, NY 10016
Kerry O'Quinn, Norman Jacobs
Editor in Chief: David Houston
Managing Editor: James M. Elrod
Assistant Editor: Kirsten Russell
Art Director: Linda Bound
Contributors: Kez Howard, Jim Burns,
Bill Irvin, Tom Rogers. Gary Gerani,
Frank Squires, John Waldrop, Tom
FROM THE BRIDGE
Movies, Television, News
Gene Roddenberry: Two Men in One
The Star Trek Movie
Famous Star Trek Fans.
Exploring Logan's 23rd Century World
THE NEW TELEVISION SEASON
Wonder Woman, Gemini Man, Holmes and Yoyo.
WAR OF THE WORLDS
The Stories H.G. Wells Wrote or Inspired
Special Collectors Section
About the cover: Famous "action artist"
Dick Kohfield said this work was a great
pleasure, because he and his 14-year-old
son, Glenn, are fans of Space: 1999. Dick
is concentrating on paperback book covers
lately but frequently produces illustrations
for sports magazines and does movie
posters— his most recent was Supercops.
STARLOG is published quarterly by O'Quinn Studios,
Inc., 180 Madison Avenue, New York. NY 10016. This
is Volume 1, Number 2, November, 1976, copyright ;
1976 by O'Quinn Studios, Inc. Subscription rate: S4.99
for four issues; foreign: S6.99. and if you're so thorough
as to be reading all this microscopic type, you deserve a
bonus ... we just learned that there are two movies in
the works about the Loch Ness monster. In addition to
the one discussed In this month's Log Entries, there's
The Legend of Loch Ness- which will be released soon
through Globe Cinema Arts. The publishers accept no
responsibility for loss or damage of unsolicited photos
or manuscripts, but if free-lance submittals arrive with a
return envelope and postage, they will be carefully con-
sidered and, if necessary, returned. Address cor-
respondence, submittals, classified ads, and subscrip-
tion orders to STARLOG Magazine. 180 Madison
Avenue, Suite 1503. New York. NY 10016.
Recovering from the Mysterious Unknown Force 32
Complete First Season Episode Guide 37
Twelve Episodes of the New Season 39
On the Planet of Sophistication
Chapter Guide for the First Serial
New Movie and Television Efforts to Bring the
Comics to Life
The Music of the Spheres
Puzzles and Word Games
Mars, NASA and Destination Moon
If you're not yet convinced that we're entering an age of science-fiction, skim
the Log Entries in this issue of STARLOG. You'll find mention of 25 sci-fi
movies that are either showing currently or in development.
We devotees are in danger of losing our minority position!
Just in the last month or so, I've watched TV showings of War of the Worlds,
This Island Earth, The Stranger, Stowaway to the Moon, First Men on the
Moon, and Invasion of the Body Snatc hers— plus the usual Trek and 1999 reruns.
At theaters, I've seen The Man Who Fell to Earth, Embryo, Logan's Run, A
Boy and His Dog, Food of the Gods, and The Big Bus— all of them first-run movitd.
I feel like I've had a Krell brain boost.
While I'm in mental high gear, allow me to offer a few thoughts about the
directions this sci-fi renaissance might take. Subtitle the next paragraphs:
science, symbolism, and seduction. It's about two distinct trends in sci-fi today.
The Man Who Fell to Earth is visually appealing, but don't see it expecting a
coherent story line. We never learn why the alien comes to Earth or what he
hopes to accomplish. It has something to do with water, but what? The little
ship he builds for his return is obviously no tanker.
The recent film of Harlan Ellison's A Boy and His Dog (artistically successful
on its own terms) has a look of clarity but a great vagueness of meaning. The au-
dience is continually prompted to look for meaning and symbolism— in what is
really a simple demonstration of the nature of love, told in the manner of dark comedy.
Logan's Run has a clear plot, about an escape from an intolerable society. The
vagueness here lies not in the adventure but in the background. Why are things
the. way they are? Why do people believe as they do? What would be required for
them to behave differently? (For some of the answers the film omitted, see page 17.)
It looks now as if the best demonstration of the difference between stories that
are clear and those that are only vaguely suggested will be Space: 1999. The first
season of the popular TV series opted for visual excitement, questionable science,
and nebulous stories. And it became a hit. For the second season, the producers
hope to add story clarity and well-rounded characterization to the 1999 format.
From the one episode I saw previewed, "Metamorph," I predict they will suc-
ceed. (See page 32.)
My point: accomplishing an aura of scientific accuracy is a breeze compared
with adept storytelling. This is particularly true in the motion-picture (and TV)
medium, where there is a natural tendency to minimize talk and maximize action.
Unfortunately, when too much talk is omitted, the action becomes meaningless.
The real challenge for the sci-fi screenwriter is to see that the minimal dialog
conveys all the needed information and at the same time sounds natural. Inva-
sion of the Body Snatchers did it, Stowaway to the Moon (a recent TV movie)
did it, Embryo did it; it is possible!
(Embryo was something of a dud in spite of its good dialog, clarity, and good
acting— because it was just another rehash of the Frankenstein theme.)
I'm haunted by something I read in The Making of 2001. Kubrick realized,
when he saw the film, that the aliens he had fashioned out of gas jets looked like
gas jets. So he cut them out and replaced them with nothing. By eliminating
that single aspect, he removed the explanation for all the events of the movie.
I wish he hadn't gotten away with it. I'm afraid the success of 2001 has en-
couraged other producers to indulge in wishful thinking— to discount the im-
portance of careful story-telling.
Which way will our new age of sci-fi go? When the renaissance arrives, will we
understand it? Or will we just sit back and look at the pretty pictures?
David Houston / Editor-in-chief
■ Phantom Lady's patriotism: "America comes first — even before
■ Gene Tunney and Jack Dempsey pen mash notes to Sensation
■ How a Ph.D. psychologist dreamt up Wonder Woman. Its strange
■ The first Tarzan story: 95,000 words written in longhand on some-
body else's stationery by a 35-year-old pauper
■ Plastic Man and Hugh Hefner
■ Triumphant researchers unearth a pre-Disney Mickey and Minnie
■ It came from Lafayette Street : the birth of Mad
■ Comics Code Authority softens its stand against vampires and were-
wolves, provided they are "used in the classic manner"
■ Little Orphan Annie's radio boyfriend: Why Joe Cornstassle was
■ Madam Fatal : here in drag
■ Turnabout is fair play. "The Lonely Dungeon" (Mystery Tales
^ 18) "proves" that the monster created Dr. Frankenstein
■ New York Magazine brings back The Spirit
■ The schizophrenia of the EC symbol: Education Comics (Picture
Stories from the Bible) and Entertaining Comics (Haunt of Fear,
Carl Barks' life at the Disney Studios: "I was just a duck man —
strictly a duck man"
[ ■ Radio at its best — the opening chant of Superman
Comic book wartime slogan: "Tin Cans in the Garbage Pile Are
Just a Way of Saying 'Heil!' "
Well, it wasn't great literature (gasp!),
but we all read it. On a lazy summer after-
noon, the only sound heard in the land
was the nipping of comic-book pages at
Pop's soda fountain, or under the old elm
tree (remember elms?).
In The Comic-Book Book, popular cul-
ture historians Dick Lupoff and Don
Thompson continue the missionary work
they began with the justly acclaimed
pioneer volume, All in Color for a Dime.
Aided by a crew of outrageously knowl-
edgeable comic-book buffs and a batch of
carefully chosen illustrations, they evoke
the old magic— and also make some pene-
trating, scholarly, nostalgic and wildly
funny remarks on those never-to-be-for-
gotten pleasures of our innocent youth.
Chockful of vital facts about Young
America's favorite reading matter, The
Comic-Book Book is an entertaining and
evocative excursion into memory landj
and an important contribution to
the study of pop culture.
off the store price when
you join the Nostalgia
Book Club and agree to
buy 4 Club books or rec-
ords over the next 2 years.
NOSTALGIA ROOK CLUR
525 Main St., New Rochelle, N.Y. 10801
I enclose $1. Please send The Comic-Book Book by Dick Lupoff and Don Thomp-
son at no further cost and accept my membership in the Nostalgia 8ook Club.
As a member I get to buy Club books and records about our happy yesterdays
(1920-1955)-movies, radio, early TV, show biz. fads, fun-always at discounts
of 20% to 89% plus shipping. I get a free subscription to the Club bulletin.
Reminiscing Time, with data about new Club books & records plus news about
fellow members and their hobbies. EXTRA! Personal service-just like 1939. No
computers! My only obligation is to buy 4 books or records over the next two
years, from some 150 to be offered-after which I'm free to resign at any time.
If I want the Selection. I do nothing; it will come automatically about a month
later. If I don't want the Selection, or I prefer one of the many Alternates, I
merely let you know on the handy form always provided. I'll be offered a new
Selection every 4 weeks-13 times a year. ST-100
□ I don't care to join the Club but I enclose $8.95. Please send The Comic-Book Book postpaid.
If not pleased I may return book in 30 days for full refund PLUS extra cash to cover my return
LATEST NEWS FROM THE WORLDS OF SCIENCE FICTION
When you see Futureworld— the new AI sequel to
Westworld— you're going to find the settings thoroughly
convincing and quite spectacular. No wonder— they're real.
Much of the film was shot on location at the Johnson
Manned Spacecraft Center in Houston, Texas, and in-
cludes some exciting "settings" of our space program
never before committed to film.
A real Apollo Command Module and a full-scale mock-up
of Skylab are used for key scenes, as are a number of the
environmental test facilities— including the mammoth
black, solar-hot and cryogenic-cold vacuum chamber
capable of housing a whole composite space ship.
The famous Mission Control at the MSC is used as the
fictional Delos Central Control, from which the four
"worlds" of the adult playground— Futureworld, Roman-
world, Spaworld, and Medievalworld— are observed and
In the story, Peter Fonda's character is replicated. In
the process, several computer-image techniques are used
which have never before been filmed. Special-effects man
Brent Sellstrom (who also worked on Westworld) learned
more than a smattering of computer science while working
on the film. Techniques included painting Fonda white and
projecting a grid of quarter-inch squares onto him. The
three images— taken from three simultaneously active 35
mm cameras— resulted in a "topographical map" of the ac-
tor, which was then fed into the computer via electronic
tablet and pen.
The wild variations in picture you see when Blythe Dan-
ner's character has her erotic dream fantasy were done by
projecting the picture image onto a dish of mercury.
What got Peter Fonda— of Easy Rider naturalism
fame — into imaginative science fiction? Says he: "Seventy
to eighty per cent of the books I read are science-fiction,
so I was already heavy into reading it. When I read this
script it seemed like it would be fun to do, and it has been.
We get to play with all these fantastic gadgets and bounce
around on the most incredible sets ever put on film."
BRADBURY ON RADIO
Ray Bradbury(77ie Martian Chronicles, It Came from
Outer Space) and Norman Corwin had combined their
talents to produce a series of 37 sci-fi radio dramas based
on Bradbury short stories. The two pilot programs are to
be aired over National Public Radio in September; they
are: "Forever and the Earth" and "A Terrible Conflagra-
tion, up at the Place."
NEW DAVID BOWIE FILM
Bowie's "The Man Who Fell to Earth" is in current
release— and garnering controversial reactions and re-
views. Not one to wait for final results to come in, the
natural-born alien is hard at work on his second sci-fi en-
try: Zero Hour, which will be made by British Lion Films.
NICK TATE IN NEW YORK
When the conventioneers spearheading the July-August
Star Trek meeting in Maryland took a poll, they found
that Nick Tate was the hands-down favorite cast member
of Space: 1999. They invited him to attend; he accepted,
flew over from London (where Space: 1999 was then film-
ing the 15th episode of the new season), and stopped off
briefly in New York.
Independent Television Corporation, syndicators of the
show, made him guest of honor at a press luncheon, on Ju-
ly 27. Nick was in appreciative company: the press con-
sisted of writers from Galaxy, Fantasy & Science Fiction,
The Monster Times, Starlog, and other publications in the
The 34-year-old Australian actor cheerfully answered
questions on the show, his career, and his life.
Asked to clarify the rumor that he was nearly dropped
from the show, he said, "I heard that rumor too." Actual-
ly, he said, since there was nearly a year between filming
the two seasons, he had been away doing other projects
and had made some commitments that might have con-
flicted with Space: 1999. "But I'm happy to say that they
did not." One of those projects, a starring role in a movie,
„..—>«■ 5 £j
f > . Jftoj^
ITC's Murray Horowitz with Nick Tate.
The Devil's Playground, won him 1976 Australian Best
Actor of the Year.
Tate's fan mail— around 5,000 letters a week— comes 95
per cent from young women, he confessed with a delighted
half-smile. He said he answers as many as he can, but that
it turns out to be a small percentage.
Asked how much Alan Carter is really like Nick Tate,
Nick replied that since the character had originally been
conceived to be an Italian, he had pretty much patterned
Alan Carter after himself. Concerning a suggestion that
the show's new actor, Tony Anholt, might be usurping
some of Alan's air time, Nick said that no, the roles are
fully differentiated and that "Tony and I get along fine."
Concerning the show's famous special effects: "It's fan-
tastic to have that kind of support." He said it makes the
actor's task simpler if the visual representation is fully be-
lievable. Just recently, he related, a fire was so realistic
that the set actually began to go up in flames. Firemen
had to be called upon to save the set.
Nick, who does all his own stunt work, said that from
time to time people actually do get hit in the fight scenes;
but it's worth it for the realism.
A "moderate" science fiction fan himself, he said that
his favorite episodes ("This is a very subjective judge-
ment") of the first season included "Full Circle " and
"Another Time, Another Place." He already has a favorite
from the new season: "Journey to Where," in which Alan
finds himself on Earth during the 14th Century.
"This is the first international break I've had," Nick
said about his new-found popularity.
Although the changes in story and format for the se-
cond season really don't affect him much, Nick said, "I'm
positive the changes are for the better."
WHEN WORLDS COLLIDE
The script for the new Paramount/Universal remake of
When Worlds Collide will be penned by Anthony Burgess,
it has just been announced. Producers are Richard D.
Zanuck and David Brown. It was previously announced
that Jaws director Steven Spielberg would direct Worlds;
but now that plans are firmer, John Frankenheimer has
been assigned to the task. Production is to begin early in
1977. The film will be based (as was the George Pal ver-
sion produced in 1951) on the 1932 novel by Philip Wylie
and Edwin Palmer.
STAR WARS Twentieth Century-Fox is currently completing the film-
ing of their latest science fiction blockbuster, Star Wars.
Without any parts of the film even previewed yet, some
critics have already heralded Star Wars as, "... every-
thing in science fiction you've always wanted to see on the
screen but knew no one would ever put there."
Star Wars is written and directed by George Lucas, the
man responsible for THX 1138 and American Graffiti. Pro-
ducer Gary Kurtz, working with an $8,000,000 budget, has
taken Star Wars on location to both Tunisia and London.
Star Wars is about a galaxy-wide civil war set in the dis-
tant future when Earth and its past have been entirely
forgotten. Sir Alec Guinness plays an old renegade who
was a great general in the first Galactic Wars. Mark
Hamill plays the film's starring role, Luke Starkiller— a
Stuart Freeman, the man who designed the spectacular
ape costumes for 2001: A Space Odyssey, has created
several alien designs and makeups for Star Wars ' large
cast. In addition to its basic science-fiction format, Star
Wars will also contain elements of fantasy.
Star Wars reportedly won't be ready for release until
early 1977, but for those of you who can't wait that long
to find out more, Ballantine Books plans to put out a
novelization of the movie in bookstores sometime this fall.
KING KONG IN NEW YORK
For those of us in and around Manhattan during the
week of June 21st, the demise of the greatest of movie
apes was a rare treat. For several nights running, search-
lights and spotlights created a peculiar glow on the clouds
over the World Trade Center in the usually-dark Wall
Street area. Dino DeLaurentiis was here on location film-
ing the finale of his new Paramount updated version of
Although his original plan to perch the giant full-scale
model of Kong atop the twin towers proved impracticable,
DeLaurentiis nevertheless pulled off one of filmdom's
The crowd scenes at the end of the movie have the
largest number of people ever assembled for such a pur-
pose. An estimated 45,000 spectators showed up on the
plaza of the Trade Center. They were prompted by full-
page ads that appeared in many local newspapers; and in
responding, they allowed themselves to be used as unpaid
The old record of 25,700 extras was set by Cecil B.
DeMille during the filming of The Ten Commandments.
Certainly Paramount and DeLaurentiis got tremendous
mileage out of the publicity generated by the event. In ad-
dition to the news stories of the filming, there was addi-
tional press about Paramount's battle to gain permission
to erect yet another Kong model in Times Square— where
it would stand through the premiere of the film on De-
cember 22. The proposed model would have a crumpled
helicopter in one hand and an hysterical lady in the other.
This Times Square version of the ape was to be a mere
35 feet high— rather than the 40 feet of the filming model
used at the Trade Center. The specifications called for it
to be capable of withstanding 100-mile-an-hour winds; it
would be surrounded by a 10-foot-high fence and guarded
by security cops around the clock.
Everything was going smoothly until the City Council
decided that the stunt might just be a bit too self-serving
for Paramount, and voted 20-3 not to grant the permit re-
quested. Permit was denied in spite of Paramount's will-
ingness to renovate the pedestrian island on which the ape
was to stand after they had removed the thing.
Not to be outdone in the self-serving department, how-
ever, several city fathers indicated that a permit might be
granted after all if Paramount were to "donate" a tidy
sum to be used in the area for other renovations. A figure
(Continued on page 53)
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Above: The lithium cracking station
By KEZ HOWARD
heroes but also succeed in projecting
from "Where No Man Has Gone Before," the
second Star Trek pilot. The effects
were very good for TV at that time.
Below: Roddenberry outside his
mountaintop residence in L.A.
G.R.A.S.— The Gene Rodden-
berry Appreciation Society — is un-
doubtedly the first nationwide
official fan club devoted to a tele-
vision writer and producer. G.R.A.S.
is not a Star Trek club and not a club
devoted to any stars of the show.
Roddenberry receives several hun-
dred pieces of mail per month — mail
that expresses appreciation for
Roddenberry's many ventures: for
Star Trek, for Genesis II, for The
Questor Tapes, for whatever tales of
excitement and imagination he is or
has been connected with.
This inventive, intelligent, coura-
geous man has answered a need in
the rather bleak esthetic world of the
mid-Twentieth Century. He is
almost the only creator who has been
serious in his presentation of heroic
men and women; and he is virtually
alone in his projection of man's fu-
ture as an improvement over the
world of today.
It is easy both to congratulate the
man and to wonder in dismay why
there are so few like him. It makes
one wonder: what sort of person is it
who can not only retain his belief in
those beliefs publicly, in a culture
still dominated by an anti-hero
Roddenberry has always been a
man of both action and intellect. In
fact, his adult life can be divided in
two: we can characterize him as two
radically different people and see
that it is a melding of the two that
best explain this extraordinary man.
Gene Roddenberry number one:
An avid adventurer from child-
hood, young Gene joined the Air
Force during World War II and
served as a B-17 pilot in the South
Pacific. He flew 199 missions and
was a survivor of a crash that
demolished his plane.
Undaunted, he became a commer-
cial pilot for Pan Am after the war.
He flew the India-Istanbul run and
was piloting the day that line
suffered an historic disaster. He was
one of only seven survivors and was
given the Civil Aeronautics
Authority's highest commendation
for his heroic action during the
In an abrupt shift in career direc-
tions, he joined an even more
dangerous profession: he became a
It is an unusual man who can preserve his vision and
moral sense— when all about him are losing theirs—
and an even rarer man who can develop the skills
that allow him to share his vision with others. For
the invention of Star Trek— a show that has given
the world back its optimism and its youth— what
was needed was . . .
Two men in one:
rookie with the Los Angeles Police
He handled every imaginable
police assignment, from traffic con-
trol to narcotics cases. From 1948 to
1953, he came to be regarded as an
expert in. narcotics and drug
In 1956, Gene Roddenberry
became a successful television writer,
earning more than four times what
his job as a narco cop had paid him.
He had married Eileen and
became the father of two daughters,
Darlene and Dawn.
Gene Roddenberry number two:
An avid reader, able to keep to
himself happily, young Gene dis-
covered and fell in love with science
fiction when he was in junior high
Literature became more than a
casual hobby to the young man, and
he turned to romantic classics. His
favorite adventure series to this day
are the Horatio Hornb lower stories
by C.S. Forester.
In the late 1940's, Gene began to
feel that he had a viable talent for
writing and was particularly
interested in writing for the
promising new medium: television.
Gene Roddenberry working at his desk, hopefully on another
script of the new Star Trek movie. The model of the U.S.S. .
Enterprise on the desk was one of those used in the series.
Roddenberry's love of adventure
has taken him from being a pilot
to the Los Angeles police depart-
ment to producing for television.
He began to write in earnest. His
first efforts were articles for
magazines, but eventually he began
to turn in outlines and completed
scripts to the television offices open-
ing up in Los Angeles.
His first sale to television came in
Then came a sale to Chevron
Theater — a science-fiction adventure
called The Secret Defense of 117,
which was produced starring
Other TV producers saw Gene's
work; soon he was writing for the
best: Dragnet, Four Star Theater,
West Point. Eventually he was
offered the job of head writer for
Have Gun Will Travel.
One of his Have Gun scripts,
Helen of Abajinian, earned that
year's Writer's Guild Award for best
In 1963, Roddenberry — now one
of the top television writers — became
He moved into offices at MGM
and started production on a series
which he himself had created: The
Gene began his writing career by
contributing articles to magazines
and later wrote for top television
shows. He then turned to produc-
tion with his series The Lieute-
nant before going on to Star Trek ,
By the time his season with The
Lieutenant was drawing to a close,
he had developed the first threads of
a complex TV series idea: setting an
Horatio Hornblower-type character
within the science-fiction framework
of what was described in its early
outline as a "wagon train to the
He called the idea Star Trek.
Today, Gene Roddenberry
(numbers one and two combined)
lives an active, creative life on his
mountaintop in a Los Angeles
canyon, which he shares with second
wife Majel and the beginning of his
second family, two -year-old Gene, Jr.
His adventurous side enjoys flying,
boating, motorcycles and swimming,
while his intellectual side writes
screenplays for movies and tele-
vision — usually involving the elabor-
ate inventiveness required to create
whole new universes — and is at work
on a first novel.
His visual creativity finds an outlet
in jewelry design and, according to
Stephen Whitfield (in The Making of
Star Trek): "More than once, Gene's
sense of design and intuitive feeling
for the harmonious blending of
colors have been employed in main-
taining the excellence for which Star
Trek has been noted."
For Star Trek to be created, there
had to be a man whose inner life was
not a battlefield — whose intellect
and sense of adventure were not in
It took a renaissance man. ^
The Star Trek movie
It's untitled, unwritten, and uncast —
but it's about to go into orbit!
By JIM BURNS
Surely there's no more anxiously
awaited event in the sci-fi world than
the Star Trek movie. It has been an
on-again, off-again project. The
originally announced filming date-
July 15, 1976— came and went, and
Star Trek fans worldwide began to
worry whether or not the movie
would ever be made. This is what
happened and how things stand now:
When Paramount Pictures an-
nounced they would be producing a
Star Trek movie for theatrical
release— nearly a year and a half
ago— Gene Roddenberry immediate-
ly began work on possible screenplay
ideas. His first was one concerning
the formative years of the charac-
ters—their days at the Space Acad-
emy, their first assignments, their
coming together to man the Starship
Enterprise, and the construction and
launching of the UFP Starfleet.
This idea never made it to the sub-
mittal stage. The first script Rod-
denberry completed was on a dif-
ferent subject— and was rejected.
"The first script," Roddenberry
recently explained, "was a story that
dealt with the meaning of God. What
I think bothered Paramount was that
I had a little sequence on Vulcan in
which the Vulcan masters, the people
Spock studied under, were saying:
'We have never really understood
your Earth legends of gods. Particu-
larly in that so many of your gods
have said, "You have to bow down on
your bellies every seven days and
worship me." This seems to us like
they are very insecure gods.' "
The film's largest problem at this
point is that Paramount still has not
approved any of the screenplays or
outlines that have been written. Both
Robert Silverberg and Chris Knopf
have written full screenplays; and
Harlan Ellison, Dick Simmons, and
Theodore Sturgeon have written out-
lines. All of them have been rejected
In an attempt to get the produc-
tion off the ground, Roddenberry has
completed yet another story treat-
ment which will soon be shown to
Paramount executives. Aside from
the fact that this new story takes
place five years after the Enterprise's
"five-year mission to seek out and ex-
plore ..." no information is
available concerning plot.
According to Susan Sackett, Rod-
denberry 's secretary (and an ac-
complished writer herself), Gene is
now deciding on just one writer— a
skillful and highly experienced
screenwriter— who will develop what
will be the film's screenplay— just in
case Paramount decides not to use
Gene's latest treatment.
The film— budgeted at a big
$5,000,000— is now to start shooting
The television series had special ef-
fects that were quite good for its
time, but there were unfortunate
limitations both in budget and the
small-screen format. The movie ver-
sion will show considerable improve-
ment in the effects department— due
to the large production budget and a
new process called Magicam.
Roddenberry* told New York re-
porters about the new process:
"Magicam is basically two camer-
sas that are synchronized perfectly
with one another. There's one huge
one with which you photograph ac-
tors in a blue background [this is
essentially the television Chroma-
Key process] which will disappear
when you blend it with the other
camera which is shooting a minia-
ture. The actors are then keyed where
to walk, what t.o touch, and so on,
and they then appear to be walking
through the miniature set. This
enables us to build a whole ten miles
of miniature city for considerably
less cost than you could build a real
one— and that's a big advantage.
Sometimes, though, Magicam
doesn't work out. For instance, if we
do the bridge of the ship, I would not
want it to be done in that process
because I want a real set so that the
actors can relate to their instrumen-
tation and so on by actually seeing it.
I'll use Magicam in the movie only to
the point where it stops being better
The original settings created for
the television show, incidentally,
have been destroyed. New Enterprise
settings will be built and will be
designed in much greater detail than
was needed for TV.
All of the Star Trek original cast
will be back to make the feature film,
if all are available and if all will agree
to the contracts Paramount offers
them. At this point, negotiations are
still in progress to secure the services
of William Shatner and Leonard
Roddenberry told STARLOG that
he wants to use not only the original
actors but the production people as
"I'd like to use all of the original
production people on the film. People
like Fred Phillips with makeup, Matt
Jeffries with set design, Bill Theiss
with clothes design, and all the
others. I thought they were the best
when we were first doing Star Trek,
and I still do now. I think the story
with them is the same as it is with the
actors. If available, they'd all like to
do the film."
Roddenberry will be producing the
Star Trek movie under executive pro-
ducer Herry Isenberg, a man who has
spent many years working in televi-
Many Star Trek fans remain
doubtful that there will be a Star
Trek movie, and Roddenberry admits
that the production has already suf-
fered several setbacks. Yet when
asked if he believes we will ever see a
full length Star Trek motion picture,
Roddenberry answers quite simply,
"There is no TV in Sri Lanka,
so I have no chance of seeing
Star Trek. But I did enjoy many
of the earlier episodes and had
an interesting meeting with
Gene Roddenberry when we
were both on a TV show in Tuc-
son a couple of years ago.
"The durability of Star Trek
and its fans is certainly a most
interesting phenomenon, worthy
of a sociological study!
"Gene did a remarkable job
before exhaustion, over-
exposure, and network idiocy
scuppered the series. He must be
a masochist to keep trying!
"I think I am happier to be
living in a country with no TV
rather than commercial
TV— though perhaps a judicious
mixture of both commercial and
public is the best thing."
Arthur C. Clarke
(Inventor of the "fixed" com-
munications satellite, author of Ren-
dezvous with Rama, 2001: A Space
Odyssey, and Imperial Earth. )
"City on the Edge of Forever,
a Harlan Ellison story. I
thought that was one of the bet-
ter shows that we did ... I liked
Metamorphosis, and I thought
Miri was a good show.
Tomorrow is Yesterday, a
Dorothy Fontana script ... I
thought it was one of the best."
("Dr. Leonard McCoy")
"Star Trek was the hardest
series on the air to write for. Too
many professional TV writers
didn't understand science fic-
tion—they couldn't handle the
format. They didn't realize that
science fiction is more than just
a western with ray guns."
(Author of The Trouble with Tribbles)
"We get more mail and phone
calls on this show than any
other show we've ever had on
the air. When the program is on
the schedule and we preempt it
for a special, our switchboard
gets so overloaded we can't han-
dle all the calls."
Program Director, Channel 13, Los
"Star Trek . . . the most
sophisticated example of science
fiction on the television screen."
(Science and science fiction writer)
"The interest in the show is
greater now than it was last
year, or for that matter, when
the show was on the air in prime
time. ' '
(Susan Sackett's boss)
"The numbers keep growing
geometrically, while the stories
get older and older. It's really
bizarre. The fans have gone to
such great lengths to keep the
show alive. They've written
thousands of letters and the
business of selling Star Trek
books, magazines, bumper
stickers, spacecraft models and
props, T-shirts— you name
it— has grossed millions of
dollars nationwide. There hasn't
been a campaign like it since
("Helmsman Sulu", from an interview
in the New York Daily News, March 2,
"The day Star Trek was can-
celled, I could have cut off heads
at the network. It was a mar-
(Late creator of The Twilight Zone and
"Reasons for the show's
popularity are many. It offered
good plots— many of them
highly imaginative, and scripted
by leading science fiction
writers— as well as action, ad-
venture, and the use of highly
technical and sophisticated
(In The Los Angeles Times)
"It blows a lot of corporate
minds when executives pass by
my office at 6:30 p.m. and see
Captain Kirk coping with
Klingons rather than seeing the
6 o'clock news on my monitor.
Towards the end of what is
usually an incredibly hectic day,
escaping aboard the U.S.S. En-
terprise is a welcome relief."
(Executive Producer, WCBS-TV, New
"The Star Trek cult is based,
in my opinion, on four things:
1) Young people of intelligence
who are concerned with our
world and with their own lives
are naturally interested in sci-
ence fiction, since this is the only
form of fiction that deals with
the future and with change— and
it is in a changed future that the
youngsters will mature.
2) There was enough respect for
science in the program to give it
the support of the more
sophisticated portion of the
science fiction audience— who are
3) Many Star Trek episodes
dealt with ethical problems that
were resolved in humane
fashions. Even a 'monster' was
viewed sympathetically when
she turned out to be a mother
protecting her child.
4) There were interesting,
idiosyncratic, and sympathetic
characters about whom one's
feelings could crystallize."
(Excerpt from Cue magazine)
"I for one refuse to believe
that an enterprise so well con-
ceived,, so scrupulously
produced, and so widely loved
can stay boneyarded for long.
And I have 1,898 letters from
people who don't believe it
either. ' '
(Late British science fiction writer, from
the introduction to his original Star
Trek novel, Spock Must Die)
MOSTLY ABOUT STAR TREK
... I thought your new magazine to be
quite a relief after trying to save TV
Guides in order to have a small descrip-
tion of each Star Trek episode ... I do
have two comments (or corrections) about
your book. In the Bionic Woman section,
Jamie Sommers' name was spelled
"Jaime" each time, and it made me pause
a moment to read it. Also, in the Star Trek
filmography, the picture on page 52 is
from "Mirror Mirror" not from "The
Naked Time," and it is backwards. Also,
both pictures under "Mirror Mirror" were
backwards— in addition to the top picture
on page 42.
There were indeed mistakes in the spell-
ing of the name in the Bionic Woman ar-
ticle, but oddly enough, it is Jaime Som-
mers— probably because it comes from a
real-life woman who spells her name that
way. But you're absolutely right about the
Star Trek pictures. We realized the films
had been "flopped" when it was too late to
have them reprocessed. It had to do with
emulsion being on the wrong side of dupli-
cated slides— and things like that. We had
to run them reversed or not at all. Our only
excuse for running the "Mirror, Mirror"
picture with "Naked Time" is abject
... I have never found out what the let-
ters NCC stand for on the USS Enterprise
NCC- 1 70 1 . Do you know?
That's the Naval Construction Contract
... In the book The Making of Star Trek
by Stephen E. Whitfield, the episode en-
titled "Friday's Child" is listed as being
aired on March 22, 1968. In your maga-
zine, the same show is listed as being
shown on December 1, 1967. I am not a
member of that group known as "Trek-
kies," but I would like to know which
viewing date is correct.
Bryan Reese III
"Friday's Child" probably was originally
scheduled for airing on March 22. But, in
fact. Star Trek was pre-empted that night
by a special on the Ringling Brothers cir-
cus. In reshuffling their schedules,
"Friday's Child" ended up on the earlier
air date, December I. By the way, it was
one of five episodes which never made the
reruns that season.
. . . Being in Colorado I have never had a
chance to go to a Star Trek Convention in
order to obtain the information that I
seek. I want to obtain internal diagrams
of the Starship Enterprise.
Jack D. Heidrick
Those diagrams have been published and
are now available in bookstores. If your
local outlets aren 't carrying them, get a
store to order you a set from Ballantine
Books (these are full-sized, fold-out
blueprint mechanicals, not book pages).
VOICE IN THE WILDERNESS
... I am the only person I know who is
really interested in science fiction or Star
Trek. I have no real close association with
an organized group. I belong to one fan
club that sends me a pamphlet every
other month, but I think that is more for
people younger than myself (I am 16).
Anyway, it might be a good idea to give
us a little more information on how to get
in touch with clubs and other fans.
Frances J. Rushton
Boy, do we sympathize with you! Both of
STARLOG's editors grew up in little
Texas watering holes and had very little
in common most of those around us. Cer-
tainly—we'll be printing as much informa-
tion on fan clubs and the like as we are
able to get. And be patient. Someday
you'll never have to look at another pea-
nut. (Dothan is the peanut capital of the
. . . One of the things I noticed immediate-
ly was your very optimistic approach to
all the new movies you told us about. I
thank you for the encouragement. But I
am forced to tell you that I sincerely feel
you handled the Space: 1999 article all
wrong. You were optimistic about every-
thing—except 1999. To be quite honest, I
was very upset to read of the changes
that were coming up. I hope Gerry and
Sylvia Anderson do not end up ruining a
very successful show.
Maybe it was our fault, but you
misunderstood the intent of that article. It
too was intended to be optimistic-
expressing a hope that a hit show could be
made even better, and congratulating the
producers for trying.
. . . Your article on Space: 1999 was terrific
although it was small and short. I loved it
anyway. I'm writing to get information
about (1) the address of any Space: 1999
fan clubs, and, if there are none, informa-
tion on how to start one; (2) how to get
the stars' addresses; and (3) how to get
photos, stills, posters— any kind of
Mike G. Monroy
Bossier City, California
Luckily, your three questions all have the
same answer: write to Space: 1999, In-
dependent Television Corp., 555 Madison
Avenue, New York; New York 10022— at-
tention Joe Fusco. Joe was telling us just
the other day that some clubs are now be-
. . . Being a die-hard Star Trek conven-
tioneer, I couldn't help but notice the
piece entitled "The Conventions as
Asimov Sees Them." Was this not strik-
ingly similar to something he wrote for
one of the convention programs?
New York, New York
Isaac Asimov's delightful article on
attending Star Trek conventions was
indeed an updated version of a piece he
originally wrote for The International
Star Trek Convention 1973 Com-
memorative Program. Copies of that sou-
venir book are being sold via mail order by
Tellurian Enterprises and at many Star
. . . One thing I missed in your last issue
was news of Conventions. Can't you keep
us up to date on the cons— Star Trek and
Los Angeles, California
Indeed we van. We plan to print notices of
conventions and fan meetings worldwide.
In fact, we should announce here that we
hope convention committees and fancluh
president wilt write informing us of their
activities, so we can in turn keep our
readers better informed.
. . . This is just a brief letter Lo let you
know how very much I enjoyed your new
production, STARLOG. I especially en-
joyed the Star Trek collection and the in-
terviews. Just to poke fun, however, at
your resident "expert" on the word-
builder puzzle, here is my list for his
TRJ HULKS: list, tile, isle, sire, slit, silt,
West, islet, stile, best, bite, lest, rise, stir,
bible, blister, istle, tribe, bier, rest, reis,
rite, serb, bister, bribe, lister, bestir, bile,
erst, tire, site, tier, bleat, bristle, liter
rile . . .
Gulp, Our "expert" —whom we apparent-
ly overestimated— said you should find 14
such words. Our readers— whom we ap-
parently underestimated— have deluged
us with lists like yours.
... In your premiere issue of STARLOG,
you had an anagram puzzle of a Star Trek
term. Number 32 is supposed to be
"Metamorphosis" but the clue, SHORE
MOIST MOP, does not contain an A. I
think it is a misprint.
Right you are. It should have been
SHORE MOIST MAP.
We're flattered that so many readers have
complained about waiting three months
between issues of STARLOG. Good
news— we have stepped up our schedule
as much as possible, while still taking all
the time it requires to assemble the
photos, art, stories, and other editorial
materials necessary to maintain the quali-
ty level of STARLOG. Watch for our next
issue, NUMBER 3, to go on sale at
newsstands around the country on
Tuesday, November 23rd . . . that's the
week of Thanksgiving Day. Keep those
nice complaints coming.
Send your comments, questions, and com-
180 Madison Avenue, Suite 1503
New York, New York 10016
In the premiere issue of STARLOG, we asked our readers to send in a
questionnaire. As an added inducement, we announced a drawing of
twenty-five of the questionnaires. Those drawn would win a free copy of
STARLOG #2. And for those who had it together enough to answer (cor-
rectly, of course) the STARLOG Trivia Question, we offered a full year's
subscription. We cannot offer this kind of prize each time, but we
sincerely hope that you will continue to write and let us know what you
like, what you don't like, and what you would like to see in future issues
The trivia question was:
"On the back cover of this issue, Lindsay Wagner is accompanied by
what actor? . . . and what was the name of that episode of The Hionic
Many people guessed the actor's name: Andy Griffith. What stumped
a lot of folks was the title of the episode. Some wrote that the episodes
were not named (wrong!); some simply guessed (with some very good, in-
correct titles); and some described what happened in perfect detail, but
could not remember that it was called "Angel of Mercy." The winners
are listed below with those winning subscriptions noted with a star (*):
*Joe Thomas Cooper
Noel B. Taylor
Han Antonio, Texas
Charleston, West Virginia
John D 'Amanda
Miami Springs, Florida
llaworlh, New Jersey
Bay shore, New York
Charles S. Farriss 1 1 1
(iaffney, SouLh Carolina
Panama City, Florida
San Diego, California
Let us hear from you
Anawalt, West Virginia
Brookings, South Dakota
*Sean N. Smith
Mail to: STARLOG Magazine
180 Madison Avenue, Suite 1503
New York, N.Y. 10016
(2) My three favorite magazines are
(1) My age is.
(3) My favorite article in this issue of STARLOG is
(4) My least favorite feature in this STARLOG is
(5) In future issues of STARLOG, I would enjoy seeing the following
subjects, personalities, writers, movies, TV shows, etc.
Don't want to cut this page? Write on a separate piece of paper.
The Complex society depicted in MGM's new
Logan's Run is often visually breathtaking. But
the situations sometimes are only partially repre-
sented. One is left hungry for more data and more
meaning. Sometimes the information is there— but
is glossed over so parenthetically that it fails to
register. We here present a detailed excursion
through Logan's world— stressing the delicious vo-
cabulary developed for the novel and the film, and
with material added from the novel to make the
MGM world of the future more fully intelligible.
It's a world of full employment,
stable population, plenty of eco-
logically balanced (vegetarian) food
for all, freedom from political up-
heaval, freedom from family en-
tanglements, with sex the national
pastime . . . and it's only for the
In the 23rd-Century world of
Logan's Run, life is terminated
automatically at age thirty— to make
way for new citizens. There is no
religion and hence no morbid super-
stition regarding death. But Logan
(Michael York) does not want to die.
He, and others like him, run— in an
attempt to escape the inevitable.
How did such a world come into be-
ing? The movie offers no clue; but the
novel— by William F. Nolan and
George C. Johnson— explains that
toward the beginning of the 21st Cen-
Michael York (Logan) travels with
Jenny Agutter (Jessica) via maze
car through a confusing network
of transparent tubes. All one needs
to do is to tell The Thinker, the
central computer, one's destination.
tury, there was a "Little War"—
which wasn't a war at all. Its roots
were in a period of student unrest
combined with a population explo-
sion and resultant famine.
The students who rose to power im-
posed their own solution: zero
population growth accomplished by
the thirty-year limit upon age.
Computer technology had reached
such a highly-advanced state that all
the functioning of the society could
be placed in the hands of The
Thinker— a vast computer complex
that substituted for constitution,
congress, and courts of law.
Logan lives in a world of absolute
pleasure— and enslavement to a ma-
chine. (Incredibly, this is never
spelled out in the movie; one can easi-
ly imagine human rulers off-screen
somewhere acting as present-day
programmers of the computer
Living in massive hermetically
sealed, pollution-free domes, the
citizens' only awareness of time and
date come from: the lifeclock in the
arcade (the social center of town), and
the timeflower— which is implanted
in the palm of each new-born baby,
and which is worn throughout life.
The timeflower is a radiant crystal
that changes color to denote the
allowable stages of life: white from
infancy to age 8, yellow from 8 to 15,
green from 15 to 22, and red from 22
to ten days before one's thirtieth
birthday. For the last ten days, the
timeflower blinks until lastday when
it turns symbolically black.
Babies are conceived by seed-
mothers, but the embryo is then in-
cubated and raised in nurseries. The
babies are handled by robots called
autogovernesses and are given a
sense of humanity in louerooms.
In line with the pleasure-
orientation of this youthfully
designed culture, there are drug
shops, love shops (for anonymous
promiscuous sex), and a plastic sur-
gery center called the New You Shop.
In the New You emporium, laser
surgery is performed on an aesculaptor
equipped with a cryojector servicer.
Right: For Logan's Run's "futuris-
tic" interior settings, the cast
and crew went to an actual location.
These scenes were filmed inside a
new shopping mall in Dallas, Texas.
...,.._. , , 4
Below: As the "perfect" society of
Logan's world begins to crumble, so
does the physical world. The her-
metically sealed domes over the ci-
ty explode— leaving the people to
find maturity and a natural death.
Above: In one of the most sensation-
al scenes in the film, 30-year-old
Lastday celebrants are cheered on
by the spectators as they are spun
upward toward renewal at Carrousel.
Power for the city is produced by a
hydro-galvanic system which
harnesses the energy of ocean waves.
The system is maintained automa-
tically, via the age-old method pro-
grammed into The Tfcinker.
The established order seems
perfect, immutable, and inescapable.
But there are those who do not suc-
cumb to the planned order. Criminals
and misfits are not uncommon. And
at each lastday ceremony in the Car-
rousel arena, runners can be an-
ticipated. Runners reject the state's
right to take their lives and attempt
to escape to the imagined safety of
Sanctuary. (In the book only, Sanc-
tuary exists as an "underground"
society situated at an abandoned
space station near Mars.) The run-
ners believe that the promise of life
renewal— years added to their
allowable life span— at Carrousel is
but a cruel hoax; death is inevitable.
In a display of pageantry and al-
most mystical liturgy, citizens of
lastday dress all in white, including
face masks that make the partici-
pants anonymous to the watching
crowds, and enter an elaborate en-
closure that spins the participants
upward toward a rainbow ring and
"life renewal." It's a stunning effect
in the film! And appropriately chill-
ing as the crowd cheers the partici-
pants on with gleeful enthusiasm.
There are other notable spectacles
in this MGM city of the future. Maze
cars move through transparent tubes
under air pressure and transport cit-
izens at high speeds throughout the
vast modern domed city. Directions
are given to the maze cars by voice
command, and The Thinker handles
movement and switching.
The Thinker also operates the
numerous scanners that can examine
any object or person to determine its
history and identity.
The most photographically revolu-
tionary scene is that in which Logan,
under interrogation, has his mind
fragmented into six separate parts
and images. Through the use of ac-
tual holograms, we see Logan per-
forming seven different speeches at
tha same time, with each facsimile ac-
The movie offers no explanation for
the Ice Room— a weird and frighten-
ing surrealistic setting in which our
heroes find themselves. In the novel,
it is an ironic penal institution called
Hell— situated in the Arctic Circle
and made more grotesque by the ex-
istence of the half-man, half-machine:
Box. It is Box' function to carve
beautiful statues in the ice for all
there to "enjoy"— to make the starv-
ing freezing prisoners suffer their
loss of civilization even more. The
runners arrived there by making a
wrong turn in their escape route.
The key to the movie's climax was
also left out: the fact that a single
well-placed blast of a ray gun could
bring the walls tumbling down— if
that shot were to destroy The
The most regrettable omission
from the movie is the book's theme.
The film merely said that it is in-
human to destroy people against
their will 3 and perhaps without then-
knowledge, at the age of thirty. The
novel, on the other hand, stressed the
loss to society of maturity— the in-
tellectuals and professionals over the
terminal age, who might have
prevented the world from coming
apart at the seams!
The movie is certainly worthwhile.
The adventure story of an escape and
a chase is suspenseful and there are
thought-provoking events along the
way. But with only a smattering of
greater detail and clarity, it might
have been a much more important
Above: Peter Ustinov is the Old Man
living in the ruins of Washington
D.C. He is the first old person
either of them has ever seen. They
return with him to the domed city
and cause its ultimate downfall.
Below: The city of the future in the
film is protected from the weather
by domes overhead. There's no pol-
lution, no starvation, no political
upheaval. Sex is free. Living long-
er than 30 years is the only crime.
NASA has finally completed and published the long-
awaited picture history of the Apollo program. Apollo Ex-
peditions to the Moon, edited by Edgar M. Cortright, was
worth waiting for. With many beautiful full-color photos,
on high-quality paper, the book does a splendid job of
recalling the drama and thrill of the moon landings, while
being thorough in its profusion of technical details. The
313-page book is actually written by many of the principal
actors in the drama; chapters include: "Saturn the Giant,"
by Werner von Braun; "This is Mission Control," by
Christopher C. Kraft, Jr.; "The Eagle Has Landed," by
astronauts Michael Collins and Edwin (Buzz) Aldrin, Jr.;
"Ocean of Storms and Fra Mauro," by astronauts Charles
Conrad, Jr. and Alan B. Shepard, Jr.; plus many more.
Apollo Expeditions to the Moon may be ordered from the
Superintendent of Documents, U.S. Government Printing
Office, Washington, D.C. 20402, for $8.90; stock number
NEW TREK AND 1999 BOOKS
Biggest news from Ballantine concerns their plan to
publish, in October, The Star Trek Concordance— the
"ultimate"'Star Trek reference book; and The Making of
Space: 1999 a behind-the-scenes look at the episodes, the
special effects, the stars and the production people.
LINDSAY WAGNER AS THE BIONIC WOMAN
Belmont Tower Books will inaugurate their series of non-
fiction profiles with Lindsay Wagner, The Superstar of
The Bionic Woman by STARLOG editor David Houston.
Available in late October, the 95-cent photo-illustrated
paperback contains both biographical stories on the ac-
tress and background information on the creation of both
the Six Million Dollar Man and Bionic Woman TV shows,
including a complete filmography of all first-season shows
NEW FROM BALLANTINE
The great paperback sci-fi library from Ballantine Books
grows more vast by several new titles each month— some
original works, some valuable reprints. Here are the latest:
The Survival Game, by Colin Kapp— in which Colonel
Bogaert is stranded on primitive Avida by rival star lords
attempting to determine whether Earthlings are strong
and clever enough to join the empire. If Bogaert survives,
The Reavers of Skaith, by Leigh Brackett— the final
book in a trilogy featuring Eric John Stark (the first two
were The Ginger Star and The Hounds of Skaith), in which
Stark tries to bring interstellar travel to a dying planet.
Star Trek Log Eight, by Alan Dean Foster— more adven-
tures aboard the Enterprise, taken from the stories devel-
oped for the animated series.
The Early Del Rey, vols. I and II, by Lester Del
Rey— 24 of his earliest stories, dating back to 1938, with
autobiographical notes about the stories and the sci-fi field
during Del Rey's growth as a writer.
Martians, Go Home, by Fredric Brown— a delightful
comedy about an invasion by millions of irritating and
disruptive little green men. Brown's novels are all classics,
and this is one of his best and wildest. Ballantine plans to
issue a series of Brown reprints, the next: The Best of
Fredric Brown, edited by Robert Bloch.
Lovecraft: A Biography, by L. Sprague de Camp— an
abridged version of de Camp's bestselling biography of the
great American writer of horror, fantasy, and science-
The Case of Charles Dexter Ward, by H.P. Lovecraft—
released in conjunction with the biography, this is Love-
craft's only full-length novel. It concerns alchemy, black
arts, and revival from the dead.
The Doom that Came to Sarnath, by H.P. Lovecraft— a
collection of twenty stories. Included are: "The Other
Gods," "The Tomb," "The Cats of Ulthar," and "Im-
prisoned with the Pharoahs." This volume also contains a
complete chronology of the massive body of work created
Futureworld, by John Ryder Hall— an adaptation from
the movie script.
A DOUBLEDAY FIRST
Octavia E. Butler's first novel, Patternmaster, has been
published by Doubleday ($5.95, 186 pages). The intriguing
story is set in a future post-cataclysm Earth in which the
Patternists possess psychic powers that have forced them
into a cast system: the more powerful force the less psy-
chicly adept into submission. The plot concerns the two
sons (one more powerful) of the leader, and the world they
vie to create. Philosophical debate is at a minimum and
there's lots of action. A fine first novel.
THE PLANTS TAKE OVER
There's a new collection of short stories, edited by Vic
Ghidalia and published by Manor Books (paperback)
dedicated to those who talk to plants. In Nightmare
Garden, the plants talk back, with a vengeance. The
stories (10 of them) include: "Come Into My Cellar" by
Ray Bradbury, "Seed Stock" by Frank Herbert, and "The
Flowering of the Strange Orchid" by H.G. Wells.
Here is the latest information we have concerning major
sci-fi and Star Trek conventions. If you wish to announce
future cons, write to the editor of STARLOG.
MID CON 76
1597 Oakley Park Rd.
Walled Lake, Michigan 48088
Washington Star Trek Convention Nov. 26 thru 29
Sept. 24 thru 26 CREATION 76
Nov. 26 thru 28
197-50F Peck Ave.
Flushing, New York 11365
STAR TREK PHILADELPHIA July 15 thru 18, 1977
88 New Dorp Plaza
Staten Island, New York 10306
By JAMES M. ELROD
As anyone with both eyes and a
television set knows, last season's
prime time offerings from the various
networks were less than impressive.
For the science fiction fan, things
were ironically just a bit brighter
than before. Ironically, because we
have been generally ignored since
Star Trek departed the network air-
ways. But 1975, in contrast, saw the
continuation of ABC's Six Milliion
Dollar Man, the surprisingly popular
spin-off The Bionic Woman, and the
big series totally ignored by all the
networks, Space: 1999.
NBC ditched last season's The In-
visible Man starring David Mc-
Callum in favor of another secret
agent who can become invisible. The
Gemini Man stars Ben Murphy as
s'pecial investigator Sam Casey. Sam
works for a group known as INTER-
SECT, which supplies operatives
from its think-tank facility for high
security missions. On one such mis-
sion, Sam is caught in an underwater
radiation explosion. After he recov-
ers, he suddenly finds he has the
power to make himself invisible at
will. Hence the difference between
this and the other version. The only
catch for Sam, though, is that if he
can actor who has spent the better
part of his career in Britain. Sci-fi
fans will recognize him as the man
who played Dr. Heywood Floyd in
2001: A Space Odyssey.
During last season's dearth of good
material, ABC came out of it all
smelling like a rose. For a period of
several weeks on end, the network
everyone had considered the also-ran
of television actually placed first in
the overall Neilsen ratings, and tradi-
tional leader CBS fell to number
three for the first time in years. ABC
certainly wasn't hurt by having Lee
Majors as The Six Million Dollar
Man hauling in strong ratings, and
then the show was joined by The
Bionic Woman, starring Lindsay
Wagner. Not only did ABC play the
spin-off game very well in this case,
but more than a few viewers found
The Bionic Woman superior to its
parent show, largely due to Ms.
Wagner's delightful performances.
Needless to say, the network has held
on to both shows for another season.
This fall, the lead-off episode for
The Six Million Dollar Man will be
"The Return of Big Foot, Part One."
John Saxon, veteran of countless sci-
fi epics, has been signed as a guest
star. Part Two of "Return of Big
Foot" will be shown the following
stays invisible too long, he will re-
main that way permanently. There-
fore, to monitor Sam's metabolism
and on-going physical condition, he
has a "watch dog" named Abby
Lawrence and a boss named Leonard
Driscoll. From the information pres-
ently available, it is difficult to tell
how far into science fiction The
Gemini Man will venture, but prelim-
inary indications seem to point to a
Mission: Impossible approach.
Ben Murphy is probably best re-
membered as Jones from Alias Smith
and Jones some years back. He also
appeared on The Name of the Game
and Grif. Co-starring as Abby is
Katherine Crawford, who is probably
best known as the daughter of suc-
cessful writer/producer Roy Huggins
and as the wife of Universal Pictures
president Frank Price. But, as her of-
ficial NBC bio puts it, "talented
Katherine Crawford is a successful
actress in spite of her obviously good
connections." The other star of the
show is William Sylvester, an Ameri-
week on The Bionic Woman. This
device of crossing from one show to
another by the various characters
has proved to be a very successful
ratings builder and will be used again
later in the season with the three part
"Kill Oscar" segments. "Kill Oscar"
will begin on Bionic Woman, journey
to Six Million Dollar Man, and then
return to Bionic Woman.
And, finding that science fiction
does indeed have an audience (how
could anyone have doubted it?), ABC
has gone ahead with two other
The first of these is a situation
comedy called Holmes and Yoyo. The
basic premise is that of assigning a
425 pound robot, which is supposedly
indestructible, to be the assistant to
an accident-prone police detective,
whose accidents are often fatal— to
his assistants. There has been a great
deal of confusion between this show
and an ABC Movie of the Week
called Future Cops, starring Ernest
Borgnine. Future Cops used the same
basic situation, but in a straightfor-
ward, adventure-story approach to
the subject. Holmes is obviously
played for laughs.
Holmes is played by Richard B.
Shull, and both the robot Yoyo and
its creator, Dr. Gregory Yoyonovich,
are played by John Schuck. Obvious-
ly the robot was "modeled" in the
likeness of its creator, and that is
just about as close to a message as
the show will get. Also appearing will
be Bruce Kirby as Capt. Harry Sed-
ford and Andrea Howard as Officer
Maxine Moon. Maxine finds Yoyo
absolutely irresistible, not least
because the robot has no romantic
programming at all. John Schuck
will, of course, be recognized from his
role in the movie M. A. S. H. as Pain-
less, the dentist, from numerous
other films, and his role as Sgt.
Enright on McMillan and Wife.
In addition to its regular schedule,
ABC has lately bought eleven hours
of The New, Original Wonder
Woman. ABC's disastrous experi-
ence with another version (Wonder
Woman, starring Cathy Lee Crosby)
might have deterred some folks, but
the higher-ups decided that if the
treatment wasn't right, the subject
matter was. So they have come back
with Linda Carter (Miss USA for
1973) and the classic costume, aided
and abetted by Lyle Waggoner as
WW's faithful and trouble-prone
boyfriend, Major Steve Trevor. The
first two episodes will be re-runs of
the two showings last March and
April, and will be Movie of the Week
segments on September 11 and 18.
Then, throughout the fall more
episodes of varying lengths will be
Below: Richard B. Shull is Detective
Holmes in the new ABC comedy. Holmes
and Yoyo. He is trying to figure
out the inner workings of his robot
assistant Yoyo, played by John Schuck.
shown. In case you missed them, the
two titles are "Fausta, The Nazi
Wonder Woman," and "Wonder
Woman Meets Baroness Von Gun-
ther." Guest starring in "Baroness
Von Gunther" are Christine Belford
and Bradford Dillman. The guest
stars in "Fausta" are Christopher
and Lynda Day George. At press
time, no other dates are confirmed,
but there will be at least one hour-
and-a-half show, several hour-long
episodes, and a couple that are two
The new season would certainly be
less impressive if there were no
Space: 1999 back on the air this year.
Whatever one's feelings about Year
One, as ITC is calling it, 1999 was the
only new, purely science fiction series
last season, and as such was a great
relief from the seemingly innumer-
able police stories. (For a thorough
examination of the changes that have
occurred and the hopes for the future
of this show, see page 32.)
In looking over the new season,
there seems to be much to be hopeful
about. There is also every reason to
expect that more and more science
fiction will be appearing in movie-of-
the-week type slots as the studios
find that there is a much larger au-
dience out there than they had
thought (there is now over
$100,000,000 dollars budgeted for
sci-fi films in the coming year). Cer-
tainly there will be some successes
and some failures, but that is to be
expected from any season. Only time
will tell which of the new shows will
be able to make it through that
obstacle course common to every
show— the Neilsens. -jr
Above: Lynda Carter appears as the
New, Original Wonder Woman on ABC
this fall along with Lyle Waggoner
as her boyfriend, Maj. Steve Trevor.
Left: NBC's fall season features Ben
Murphy as Sam Casey in The Gemini
Man. Sam is a special agent who
can make himself invisible at will.
mm * m
The United States' Viking missions to Mars are not— as predicted
putting an end to our romantic attitudes toward the red planet. As H.G.
Wells suggested, back in 1898, it is a desert planet, dying for want of
water . . . water which once flooded its surface. Even the Chesley
Bonestell painting of the surface of Mars, in the movie of War of the
Worlds, turns out to have been prophetic: all that's missing from our
own Viking photographs is the man-made canal Bonestell depicted.
And who knows? We've only seen a miniscule portion of the surface up
close . . . maybe we'll yet find the canals of a lost civilization. In tribute
to Wells' splendid malevolent vision of our neighboring planet, journey
with us through the thrilling adaptations and mutations of this classic.
By TOM ROGERS
' Wo one would have believed in the last years of the 19th century
that this world was being watched keenly and closely by
intelligences greater than man 's and yet as mortal as his own. "
With these words, H.G. Wells began
his action-packed novel, The War of
the Worlds. Although the story is
very dated now, it still remains pop-
ular among science fiction fans. The
entire fictitious tale was narrated by
an unidentified man, and much of the
information was provided through
his incredible first-hand experiences.
The locale was London and its sur-
rounding areas, and the Martians
never got past these boundaries. One
by one, the cylinders fell from the dis-
tant red planet, and from each
emerged a towering war machine-
powerful, gleaming masses of metal,
mounted on movable tripods, armed
with heat rays. The Martians them-
selves resembled bloated octopi; they
had journeyed to Earth to colonize
the planet and to replenish their food
supply; although it was not extreme-
ly obvious, they ate human flesh and
drank warm blood.
When army units failed to stop the
merciless invaders, London was
evacuated and subsequently taken
over by the loathsome aliens. Thou-
sands of people were killed— burned
by the heat rays, suffocated by the
black poison gas, or trampled
beneath the massive legs of the
mobile war machines. Mankind
seemed doomed, until, for no ap-
parent reason, the Martians sudden-
ly began to die. Shortly afterward, all
of the repulsive creatures were dead,
and their destructive instruments lay
dormant. It was later determined
that they had been killed by every-
day disease bacteria. Our planet had
been saved by something which is
always with us, yet which we usually
ignore. The irony of this is that Man,
with all of his artificial might, had
been unable to halt his extraterres-
trial enemies, but what had saved
him was, in essence, the common
Unknown to many people today, a
fellow named Garrett P. Serviss
wrote a poor sequel to The War of the
Worlds. Entitled Invasion of Mars, it
Right: George Pal directed the 1953
War of the Worlds for Paramount. Due
to the care and expense lavished on
it, this remains one of the most
effective sci-fi adventures on film.
People crowd into the street to look at the spectacle of the
downed Martian warship. As usual, the aliens had attacked Earth
unprepared for the microscopic bacteria lurking in the air ready
to attack the first convenient being not immune to such infestation.
deviated tremendously from Wells'
original concepts. Having appeared
in a New York newspaper, the Even-
ing Journal, in 1898, it was reprinted
by Powell Publications, Inc. in 1969.
This version began by rehashing
the plot of its predecessor, and then
went on to explain how our scientists
utilized the devices that had been left
by the Martians. Believe it or not,
one of the heroes in this tale was none
other than Thomas Edison. He and
several other men of distinction suc-
cessfully analyzed the invaders'
devices, and went further by develop-
ing defenses and their own vibratory
Enraged by the recent assault
upon mankind, a "Congress of Na-
tions" voted to counterattack. Six
months later, one hundred electric-
ally-powered spaceships, each armed
with a full battery of disintegrators,
were ready to embark on the mission
of vengeance. A short time later, over
two thousand men from various
countries— Edison included— de-
parted for Mars. Along the way, the
expedition encountered giant mon-
sters that were considerably dif-
ferent from the Martians that Wells
From this point on, the humans
had to fight their way to the heart of
the hostile planet. In doing so, they
learned much about their foes, and
they discovered that there was also a
race of humanoids residing on the
distant sphere. A female of this
species -helped Edison and his crew
negotiate with the survivors of the
attack, and in doing so, her people
were freed from their bondage to the
ugly overlords. Ultimately, fifty-five
ships returned to Earth, and the
helpful alien woman later married an
officer of the armada. Needless to
say, this novel is highly romanti-
cized—and ridiculous. However, it
does possess a certain potential for
Orson Welles and "The Mercury
Theatre on the Air" broadcast their
own modernized version of The War
of the Worlds on CBS radio on Oc-
tober 30, 1938. In this pre-television
period, it was understandable why
many listeners who missed the in-
troduction to the program mistaken-
ly believed that an invasion from
Gene Barry tentatively reaches out to check the "vital signs"
of one of the mortally ill alien invaders after their airship has
crashed into the side of a building in downtown Los Angels.
another planet was actually taking
place. Panic swept across the nation
as the realistic news reports con-
vinced citizens that alien monsters
were coming to kill them. One of the
main reasons for this mass hysteria
was that Hitler was starting to go
berserk in Europe at this time, and
the entire world was feeling quite
Many important changes were
made in the radio script to make it
more effective. Firstly, the invasion
took place on the day that it was
broadcast, as the listeners were hear-
ing it— and not in 1898. Secondly, the
locale was shifted to the United
States— New Jersey and New York,
to. be specific. As before, the Mar-
tians were nearly indestructible; for
example, during the first battle with
a then-modern army, a single war
machine killed nearly seven thousand
soldiers. As the program continued,
more and more metal monsters ap-
peared to reinforce the original land-
ing party. Troops, cannons, bombers,
and everything else that was used
against the Martians failed to stop
them. Although several enemy
vehicles were damaged during the
fighting, this proved to be inconse-
quential in the long run.
As in the novel, the monsters used
heat rays and poison gas to destroy
everyone and everything in their
path. When the Martians were enter-
ing Manhattan, one of the actors
said, "No more defenses. Our army is
wiped out . . . artillery, air force . . .
everything wiped out. . . ." As
before, that which saved the world
was the lowly cold germ.
This broadcast and its repercus-
sions were the basis for a made-for-
TV movie. The Night That Panicked
America was first televised in 1975.
The best parts of it dealt with the
production aspects of the radio show.
Paul Shenar was a good choice to
play the role of Orson Welles, but
most of the film dealt with other
characters. The emphasis was on
several people who believed that the
play was real, and these segments
were presented in somewhat fiction-
alized form. The main shortcoming of
the presentation was that too little of
the radio script was heard. Fortu-
nately, there is a two-record album of
Right: When Orson Welles was
asked about the panic caused
by his radio version, he said,
"We almost didn't do the story
because we didn't want to of-
fend our listeners with some-
thing so implausible." In spite
of repeated announcements as to
its fictional nature, many
people were badly frightened.
Below: Ann Robinson and Lewis
Martin as Sylvia and her Uncle
Matthew in the 1953 movie.
fl 2 w hi mwm
The Actual Broadcast hy The Mercury Theatre on the Sir as heard
over the Columbia Broadcasting System, October 30. 1938
■• The most thrilling dradWI ever broadcast Irom the
'amedHOWARO KOCH script! _ _ M
1 10 *
Above: The extremely
well done Classics
tion of the book re-
mained very faithful
to the original
story. Left: This is
the only photo of an
actual George Pal
Martian that is known
to be in existence.
Below: The Martian war machines attack a farmhouse right after the
hero and the girl have fled into the hills. The miniatures of the
landscapes and the two- foot aircraft took five months of preparation
under the guiding hands of Art Director Al IMozaki and George Pal.
Right: Always on the
alert for new adven-
ture stories, Marvel
a sequel to the Wells
tale with the invention
of Killraven in 1973 .
This hero has been
trained to fight the
from the Red Planet
who have completely
subjugated Earth on
this their second
attempt at invasion.
MARVEL COMICS GROUP,
the entire original broadcast, from a
company called Evolution.
In 1953, Paramount released one of
the greatest special effects spec-
taculars of all time: War of the
Worlds. Veteran science-fiction pro-
ducer George Pal took Barre Lyn-
don's script, and, with the help of
director Byron Haskin, created a tru-
ly fantastic film. If not for the highly
expensive and elaborate visual ef-
fects and the gorgeous photography,
this presentation would not have sur-
vived well through the years.
Once again, a number of major
changes were incorporated to make
the story a modern one. Nothing
frightens people more than to learn
that the defenses upon which they de-
pend to protect their complacent ex-
istence are useless.
This time around, the first space
cylinder from Mars landed in Califor-
nia—during the 1950's, of course. Un-
like the previous versions, the Mar-
tians did not reveal themselves as
soon as the door to their craft was
unscrewed. Instead, the suspense
built as a serpent-like metal device
protruded from the smoking "mete-
orite." Not long after heavily-armed
U.S. Marine units surrounded the
crater, three fighting machines
emerged and wiped out all resis-
tance—men, cannons, tanks, jets,
and even a shining holy cross. While
the creatures never used the tradi-
tional black poison gas, they did uti-
lize two different types of super-
weapons. One of these melted any-
thing in its path; the other disinte-
grated all solid matter. The war ma-
chines themselves were sleek, trian-
gular objects that were propelled
through the air by invisible magnetic
beams— even the Martians had been
modernized. Now it was truly a war
of the worlds, because cylinders
landed in every major country.
As before, nothing could hold the
invaders back— not even an atomic
bomb. However, as Los Angeles was
falling before the massive onslaught,
the crimson-colored enemy became
stricken by you-know-what and died.
Earth was safe once again. Inter-
estingly enough, not only were the
alien devices different, but so were
the Martians themselves. They were
short cyclopses that were humanoid
in shape and moved very rapidly
despite our stronger gravitational
force. There were also a lot of
religious references throughout the
film, which the atheistic Mr. Wells
would have resented very much. Ac-
tually, this flick could be considered a
sequel to the book, especially since
the Martians also had more advanced
To date, there have been two comic
book versions of the original novel.
The first of these was presented by
Classics Illustrated, the color art-
work for which was beautiful. The
adaptation stuck fairly closely to the
first concept, but certain details were
either toned down or omitted. Re-
cently, a black and white graphic ren-
dition was published by Pendulum
Press, Inc. Drawn and excessively
inked by Alex Nino, it followed the
original story nearly perfectly.
However, the simple tripod vehicles
of the invaders were now complex
technological nightmares. Each of
the two versions is very good in its
own way, but it would be nice to see
something which is superior in both
art and story— in color, naturally.
Back in 1973, the Marvel Comics
Group began their own intriguing se-
quel to The War of the Worlds. Hav-
ing started in Amazing Adventures
No. 18 , the exploits of Killraven and
his band of killers are still being pub-
lished, and in many ways it is their
finest endeavor. As the story goes,
the Martians returned to Earth in
the year 2001, equipped with protec-
tion against nuclear and biological
weapons, and an immunity to dis-
ease. This time, the carnivorous
monsters overran and conquered the
entire planet. Approximately twenty
years later, a specially-trained war-
rior named Killraven, accompanied
by several comrades and with his
own mysterious telekinetic powers,
fought against the Martians, their
despicable human servants, and mu-
tants. While the series occasionally
suffers from ridiculous subplots, it
often excels in story, script, and art.
The most recent addition to this
"continuing" saga was Sherlock
Holmes ' War of the Worlds. Portions
of this five-part novel were originally
published in The Magazine of Fan-
tasy and Science Fiction, but these
were reworked for the Warner Publi-
cations paperback. Written by Manly
Technicians make adjustments to the flying machines in the 1953
George Pal War of the Worlds. The change from tripods to airborn ve-
hicles was only one of several changes, but the atheistic Wells would
probably have objected most to the tacked-on religious references.
W. Wellman and Wade Wellman, it
related the roles of Sherlock Holmes,
Dr. Watson, and Prof. Challenger
(Doyle's hero from The Lost World
and other tales), basing the format on
Wells' novel of invasion and his short
story, "The Crystal Egg." The de-
lightful rendition succeeded in cap-
turing the personalities of the main
characters superbly. It is evident
that a great deal of research was
done by the authors. Adding to the
amusement was the fact that H.G.
Wells himself played a definite,
though indirect, role in the story.
Without knowing that the Crystal
Egg had any special properties,
Holmes purchased the item from a
shady antique dealer. Noting that
there was something odd about the
object, the private detective took it
to Challenger and asked him to ex-
amine it. Together, they deduced
that what they possessed was a tele-
vision-like instrument that was
receiving transmissions from Mars.
Therefore, they knew, before anyone
else, that an enemy force was on its
way to Earth. When the creatures
landed, the two men offered their ex-
pert opinions to the authorities,
because they understood a great deal
about the invaders' actions.
Since Holmes and Challenger were
able to observe the aliens even after
they set down, they saw how the
creatures fed upon living humans. As
in the original novel, the Martians
used tripodal war machines, heat
rays, black poisonous smoke, and cir-
cular flying contraptions. However,
the authors refuted some of the
"facts" that Wells had recorded. For
instance, their version of the confron-
tation between the torpedo ram and
the enemy vehicles was considerably
Perhaps the most interesting varia-
tion was that Holmes and his com-
panions actually captured a Martian
that had attempted to regain the
Crystal. The already-decomposing
being was injected with drugs, pre-
served in a tub of liquor, and later
donated to the Natural History Mu-
seum. Sometime after the invasion
failed, another expedition from the
red planet journeyed to Venus, but
atmospheric conditions there forced
them to leave. We learned of this
because Challenger had remained in
contact with the monsters after they
left Earth. Amusingly enough, the
book ends by publishing a letter from
Watson to Wells, demanding that the
latter admit the falsities of part of his
novel. In many ways, this work is
superior to The War of the Worlds.
That's it to date— but it is surely
not the end of the saga of The War of
the Worlds. Recently there were
plans to make a television series
based on Wells' original concepts. It
is not known whether this would be a
serialized version of the original
story, or a sequel. In any case, it has
not materialized so far. It could be an
exciting venture— if done properly.
Until then, we might be lucky enough
to see something like a movie adapta-
tion of the Wellmans' effort, or a
remake of the Paramount motion pic-
ture. Only time will tell. ... -^
Space: 1999 is the first television series in history to
acknowledge its shortcomings publicly, and then to
attempt to rectify the situation. The producers are
now engaged in an admirable orgy of explanation in
an attempt to fill in first-season story gaps, and to
set up a valid continuity for the second year. Here's a
good sampling of that material . . .
How much data is enough? How
understated can a story be before it
Perhaps those questions have no
definitive answer, but it's fair to de-
mand that a story contain enough in-
formation to explain the events and
the motives of the characters— even
in science fiction. Even in fantasy.
In Metamorph, the very first
episode of the much-heralded second
season, Dr. Russell (Barbara Bain)
starts right in correcting some of the
wrongs of the first-season shows: she
makes an entry in Alpha's log which
explains that the moon almost im-
mediately entered a time warp that
hurled it light-years across the
galaxy. And she puts the odyssey of
the errant moon into perspective.
Metamorph is a straightforward
adventure story. Its theme is "truth
conquers all" and, at the conclusion,
the audience is left with a perfectly
clear idea of what has transpired and
in what way the Alphans' lives have
been affected. Not once (as so often
happened last year) are we told to ac-
cept the fuzzy "mysterious unknown
force" as an explanation of how
something came to occur. While a
good many scientific principles in
Metamorph are left vague, those
ideas that affect the plot are clear.
Independent Television Corpora-
tion (ITC), producers of the show,
have begun to compile background
By DAVID HOUSTON
data on Space: 1999— both from the
actual episodes and for deductions
concerning what should have been -in
those episodes. Some of these clarifi-
cations will show up in second-season
shows; even more will be published in
a forthcoming Ballantine Book: "The
Making of Space: 1999" which is
scheduled for October publication.
Moonbase Alpha, it can now be re-
vealed, was built in the crater Plato,
on the near side of the moon (so as to
be within radio range of the earth).
The base was inaugurated in 1988
merely to be the overseer of nuclear
waste deposits— which were dumped
there from a global network of reac-
tors, the principle source of electric
power for Earth in the 80's.
In the early 90's, our search for
signals from extraterrestrial civiliza-
tions paid off: signals were received
from the region of Capricornus and
code-named "meta." To investigate
the phenomenon from outside the
debilitating atmosphere of earth, a
world council subscribed funds for a
research base adjoining the waste-
deposit monitoring station.
The base, Alpha, became opera-
tional in the spring of 1997. It was
manned by 330 top-notch scientists
and astronauts and consisted of a
number of fixed research and opera-
Environmental. Responsible for air
circulation, disease-germ removal,
and electric power, this section also
incorporates the scanners and sen-
sors that were built to search for ex-
traterrestrial life. (Now that the
moon is an independent body in
space, the sensors are kept busy look-
ing not only for life but for dangerous
radiation and changes in the space
Hydroponics. Here plants are
cultivated for food and the produc-
tion of oxygen for the atmosphere.
The plants "breathe" the waste car-
bon dioxide from the humans-
making Alpha a closed, ecologically
Engineering and Technics. Certain-
ly the busiest section on Alpha, E&T
must service all hardware — com-
puters, space ships, manufacturing
machinery, and the like. It was
through the E&T department that
the static waste-monitoring station
was enlarged into the outer-space
research center, Alpha.
Research. The Alpha crew includes
a team of scientist-philosophers in-
tent upon understanding the nature
of the universe. In the Research sec-
tion, experiments and observations
are conducted toward this end. (It is
Research that determines whether a
planetary body would be suitable for
human life, suitable to be a new home
for the wandering Alphans.)
Medical. Dr. Helena Russell and
her team of doctors see to the
Weightless Martin Landau, from
the first season— "War Games."
Etrec and Pasc of Archanon (played
by Michael Gallagher and John
Standing) are revived from suspen-
ded animation in "The Mark of Arc-
hanon" in the 1999 second season.
physical and psychological well-being
of the Alpha crew.
Main Mission. This is the nerve
center of Alpha, where all computers
and machinery are monitored by sec-
tion heads, and from which all com-
mand decisions must be made.
In January, 1999, plans to launch a
Meta probe were instituted, and
American-born astronaut John
Koenig was chosen to take charge of
the operation. Koenig— who held doc-
torates in extraterrestrial biology,
organic chemistry, and space propul-
sion systems— was to replace Com-
mander Gorsky, leader of the Alpha
The Meta probe, of course, was
never launched. The nuclear waste
deposits exploded on September 13,
1999 with a surge of incredible
power, and pushed the moon out of
orbit, out of the solar system and out
of the plane of the ecliptic. It was this
spiraling "upward"— into utterly
unexplored space— that hurled the
moon into the time warp that
transported it light-years away from
For year two, Main Mission— for
safety's sake— has moved under-
ground. New receiving stations and
operations consoles have been added
to facilitate the running and safe-
guarding of Alpha. The above-
ground sections extend about two
miles in diameter in the 50-miles-
across Plato crater. Main Mission is
about half a mile deep.
Aside from story background ma-
terial, the second year of Space: 1999
will proceed much like the first
year— with an even higher budget for
special effects and settings. It has
even been reported that special-
effects chief Brian Johnson has been
testing stop-motion animation tech-
niques for one of the episodes cur-
rently in production.
New producer Fred Freiberger has
expressed his disapproval of stories
themes, and has promised to deliver
"honest" adventures. He has also
promised to "humanize" the charac-
ters. When Freiberger took over Star
Trek for its third season, he did, in-
deed, remove ideological material
from the plots and "humanized" the
Star Trek crew— in some cases
beyond recognition. But, oddly
enough, it's doubtful that his affilia-
tion with SPACE: 1999 will have any
but positive results. The 1999 stories
were never particularly philosophi-
cal, and the characterizations were so
shallow that any deepening of them
will be an improvement.
The new music scoring— by Barry
Gray and Vic Elms— is dramatic and
exciting; and it omits the rock-music
sections that so diminished the sense
of importance during the credits last
All in all, it looks like a season of
This is a damn good thing— since
it's the only new sci-fi television spec-
tacular we ' ve got ! -X-
The surface of the planet Psychon
in the introductory second-season
episode, "Metamorph," which intro-
duces the alien Maya and makes her
a member of the Alpha science team.
Martin Landau in a moment of
crisis in "The Mark of Archanon."
In "All That Glitters" a rock can be
deadly, alluring, and intelligent.
1999 has been the unquestioned
champ of television special effects.
Their settings — such as this in-
terior of an Eagle cockpit— are
unparalleled scenic-design art:
both efficient and spectacular.
Executive producer — Gerry Anderson
Producer— Fred Freiberger
Special effects— Brian Johnson
Production design — Keith Wilson
In the firm belief that we have not seen the last of
Space: 1999's first-season shows, STAR LOG
presents the following complete filmography of the
1975-76 season — for future reference.
These first 24 episodes starred Martin Landau as Com-
mander John Koenig, Barbara Bain as Dr. Helena
Russell, Barry Morse as Professor Bergman, Nick Tate
as Alan Carter, Prentis Hancock as Paul Morrow, Clif-
ton Jones as David Kano, Zienia Merton as Sandra
Benes, and Anton Phillips as Dr. Mathias. Executive
producer- Gerry Anderson, Producer— Sylvia Anderson,
Alpha costume designer— Rudi Gernreich. The sequence
of shows in this listing conforms to the order of New
York City air dates.
John Koenig arrives at Moonbase Alpha to supervise a
deep-space probe under development, but soon discovers
mysterious radiation plaguing the Moonbase crew. Dr.
Russell insists that the source is storage dumps of
nuclear wastes. Before disaster can be averted, the
wastes explode— with such devastating force that the
moon is hurled out of orbit and out of the solar system, at
a fantastic velocity.
Screenplay: George Bellak.
Guest cast: Roy Dotrice as Commissioner Simmonds.
2. DRAGON'S DOMAIN
While Koenig and Russell disagree about Tony Cellini's
mental state, they hear him out as he tells of finding a
"graveyard of spaceships" with a terrifying monster
guarding the derelicts. Cellini had been the only survivor
in an encounter with the monster years ago, and now,
nobody believes his warning of horror and danger.
Screenplay: Christopher Penfold.
Guest cast: Gianni Garko as Tony Cellini, Douglas
Wilmer as Commissioner Dixon.
3. DEATH'S OTHER DOMINION
On Ultima Thule, a planet of ice, there are signs of life,
and an invitation that the Alphans come to share in a
paradise. When they land to investigate, Koenig and his
party meet Earthmen who passed through a time warp
and have lived 880 years. But there are dissidents among
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as Dr. Helena Russell
Catherine Schell i
as Science-Officer Maya j
them, including a beautiful woman who tells them of
other visitors who were sacrificed to the science of Ultima
Thule and are now no more than vegetables.
Screenplay: Anthony Terpiloff and Elizabeth Barrows.
Guest cast: Brian Blessed as Cabot Rowland, John
Shrapnel as Jack Truner, and Mary Miller as Freda.
4. COLLISION COURSE
While off the moon in an Eagle, Alan is given up for lost
and then saved mysteriously by an aged alien woman,
Arra, Queen of the enormous planet Astheria. It is
discovered that the moon and Astheria are on an in-
escapable collision course. Arra convinces Koenig to trust
her and to do nothing to stop the collision— an event she
has been awaiting for millions of years.
Screenplay: Anthony Terpiloff.
Guest cast: Margaret Leighton as Arra.
5. FORCE OF LIFE
A strange ball of blue light appears, and technician An-
ton Zoref becomes infused with an all-consuming need to
absorb energy. The people he touches freeze on contact; a
lamp turns to solid ice; he is pulling energy from the huge
moonbase generators. Koenig attempts to destroy him,
before Zoref can destroy Alpha.
Screenplay: Johnny Byrne.
Guest cast: Ian McShane as Anton Zoref, Gay Hamilton
as Eva Zoref, John Hammil as Dominix, Eva Rueber-
Staier as Jane.
6. ALPHA CHILD
Cynthia is the first Alphan to become a mother, and
Jackie proves an extraordinary child. Within hours he
has reached the development of a five-year-old, and very
soon he is an adult who calls himself Jarak. He and his
companion are fugitives from a world of genetic conformi-
ty and plan to enslave the Alphans to his purpose. But his
people are in pursuit and threaten to annihilate Alpha to
stop their runaways.
Screenplay: Christopher Penfold.
Guest cast: Julian Glover as Jarak, Cyd Hayman as Cyn-
thia Crawford, Wayne Brooks as Jackie.
7. GUARDIAN OF PIRI
False computer information lures the Alphans to the sur-
face of Piri, where they find a mechanized paradise able,
apparently, to relieve all pain and satisfy all wants. A
beautiful woman materializes and sees to the seduction'of
the Alphans, but Koenig sees the living death implicit in a
purposeless existence and fights to free his people from
the hypnotic influence of the Guardian of Piri.
Screenplay: Christopher Penfold.
Guest cast: Catherine Schell as the Servant of the Guar-
dian, Michael Culver as Pete Irving.
An alien ship bound for Earth crash-lands on the
runaway moon. Its crew, in suspended animation, is
revived and Captain Zantor agrees to take a desperate
Alphan, Commissioner Simmonds, to Earth with them—
provided the alien system of suspended animation will
work for earthman Simmonds. And there is no way to
perform a satisfactory test.
Screenplay: Anthony Terpiloff.
Guest cast: Roy Dotrice as Commissioner Simmonds,
Christopher Lee as Captain Zantor. ._
9. MISSION OF THE DARIANS
The gigantic spaceship of the Darians has been broad-
casting its automatic distress signal for almost 900 years.
By the time theAlphans launch a mercy mission to help
them, the surviving inhabitants— still blindly on their
way to a promised world— have split into an inhuman
aristocratic minority and a degenerate hoard of primi-
tives. But that's not the way it looks at first.
Screenplay: Johnny Byrne.
Guest cast: Joan Collins as Kara, Aubrey Morris as
Petro's High Priest, Dennis Burgess as Neman, Paul An-
trim as Lowry, Robert Russell as Hadin.
10. WAR GAMES
After a spectacular and devastating attack by an uniden-
tified fleet of war ships, Alpha, with 129 dead and life-
support systems crippled, is no longer habitable. Koenig
and Russell transport to the hostile planet to plead for
mercy— and receive none. Amid the transparent and
transluscent machinery of the aliens, Koenig is killed, and
Russell is tempted to use a strange power.
Screenplay: Christopher Penfold.
Guest cast: Anthony Valentine as the male alien, Isla
Blair as the female.
11. THE BLACK SUN
The moon is being drawn into the center of a huge
gaseous "black sun" with apparently no way to avert ut-
ter annihilation. There seems a slim chance that six might
yet escape in an Eagle; Dr. Russell and five depart while
the others remain and grow transparent and age rapidly
as they rely upon Professor Bergman's force field.
Screenplay: David Weir.
Guest cast: Paul Jones as Ryan, Jon Laurimore as Smit-
12. END OF ETERNITY
A life-sustaining asteroid appears three light years from
the nearest star. Aboard there is an injured humanoid—
doomed to spend eternity in his prison of rock. Released
and now hungry to inflict pain and destruction, Balor
becomes a harrowing problem: to kill him, Koenig must
sacrifice himself to bait a trap that will eject the two of
them into space forever.
Screenplay: Johnny Byrne.
Guest cast: Peter Bowles as Balor, Jim Smilie as Baxter.
13. VOYAGER'S RETURN
The moon catches up to a deep-space probe launched from
earth 14 years before the moon was catapulted away. The
Voyager One is disabled and out of control; its Queller
Drive has caused millions of deaths in a passage near two
habited planets; and now, Koenig realizes, it must be
destroyed. But Dr. Russell wants to preserve the ship, its
inhabitants, and its scientific discoveries.
Screenplay: Johnny Byrne.
Guest cast: Jeremy Kemp as Dr. Ernst Linden, Barry
Stoies as Jim Haines, Alex Scott as Aarchon, Lawrence
Trimble as Pilot Abrams.
14. MATTER OF LIFE AND DEATH
Helena Russell's husband, missing in space for years,
mysteriously appears aboard an Eagle returning from a
reconnaissance flight to what seems a compatible planet.
Lee Russell warns the Alphans away, explaining he and
the planet are composed of anti-matter— then he disinte-
grates. The Alphans ignore his warning, descend to the
planet, and are destroyed.
Screenplay: Art Wallace and Johnny Byrne.
Guest cast: Richard Johnson as Lee Russell, Stuart
Damon as Parks.
15. THE INFERNAL MACHINE
A friendly voice emanates from an alien ship, appealing
for supplies and asking for permission to land. Koenig
and Russell enter the ship and meet an extraordinarily
old man, Companion. It is learned that he built the com-
puterized ship and programmed his own personality into
its computers— and now is a slave to his vain alterego
called "Gwent." When Companion dies, Koenig is cap-
tured to replace him.
Screenplay: Anthony Terpiloff and Elizabeth Barrows.
Guest cast: Leo McKern as Companion.
16. ANOTHER TIME, ANOTHER PALCE
Past and future overlap. Miraculously, the Alphans find
themselves once again in earth orbit— with an identical
moon in the same orbit. On a destroyed surface of Earth,
the Alphans meet counterparts of themselves.
Screenplay: Johnny Byrne.
Guest cast: Judy Geeson as Regina Kesslann.
17. RING AROUND THE MOON
A space probe on its way to destroy Earth locks the moon
into a captive orbit with a ring of light. Dr. Russell is
"beamed" aboard the vessel and "programmed" to reveal
classified information. Ironically, the aliens, from Triton,
don't know that their mission became unnecessary many
Screenplay: Edward Di Lorenzo.
Guest cast: Max Faulkner as Ted Clifford.
18. THE FULL CIRCLE
Moonbase Alpha is caught up in a time warp. They land
on what they think is a new planet and discover
themselves there as cave men! In the confusion, Koenig is
nearly killed by one of his own crewmen, and not knowing
he is gunning for his comrades, Alan Carter sets out to
destroy the "primitives" to rescue Sandra.
Screenplay: Jesse Lasky, Jr. and Pat Silver
Guest cast: Oliver Cotton as Spearman.
19. THE LAST SUNSET
When a planet is discovered approximating Earth's
environment— a planet Dr. Bergman calls Ariel-Alpha
personnel prepare for Operation Exodus. But a storm
crashes the Eagle carrying Helena, Paul, Sandra, and
Alan, before they can leave the moon. They survive
because a mysterious force is providing an atmosphere
for the moon! Exodus is cancelled when it seems that
their own moon will become a life-sustaining planet. The
alien force, however, is capable of more than supplying
Screenplay: Christopher Penfold
Guest cast: none.
10. SPACE BRAIN
Flashing hieroglyphics appear on Alpha's screens. The
two astronauts sent out in an Eagle to investigate distur-
bances crash back on the moon— compressed and super-
heated into a meteor. A glutinous substance plagues the
Alphans and possesses Kelly, making him superhuman.
Throughout these events, it becomes progressively clear
that the moon is heading irrevocably toward a mys-
terious energy field, which turns out to be a benevolent
"brain"— in danger of destruction when Alpha dies.
Screenplay: Christopher Penfold.
Guest cast: Shane Rimmer as Kelly, Carla Romanelli as
Melita, Derek Anders as Wayland.
21. MISSING LINK
Koenig is kidnapped and taken to Zenno, a planet five
million light years from Earth, where an anthropologist,
Raan, wishes to study Koenig as a representative of "an-
cient Earthmen." Raan's daughter, Vana, sees Koenig
and feels love for the first time in her 218 years. Koenig
returns her affection and is tempted never to return to
Screenplay: Edward Di Lorenzo.
Guest cast: Joanna Dunham as Vana, Peter Cushing as
22. THE TROUBLED SPIRIT
An eerie wind sweeps through Alpha and shocks Dan
Mateo into unconsciousness. He has been experimenting
with methods to communicate with the plant life in his
hydroponic unit. When Mateo dies, his "spirit"
materializes— apparently in alliance with the plants. The
"thing" that Mateo has summoned during his experimen-
tation has returned to avenge its own death— which has
not yet occurred.
Screenplay: Johnny Byrne
Guest cast: Giancarlo Prette as Dan Mateo, Hillary
Dwyer as Laura Adams, Anthony Nicholls as Dr. James
23. THE TESTAMENT OF ARKADIA
On Arkadia, the Alphans discover the remains of an an-
cient planet that was once life-sustaining and now is bar-
ren and dry. Sanskrit testaments are found and tran-
slated which indicate that the original inhabitants of
Earth came from here, transplanting the seeds of life.
Luke and Anna trick Koenig into supplying them with
provisions— in the hope of staying to revitalize the dead
world, but in doing so, they have doomed Alpha to star-
Screenplay: Johnny Byrne
v Guest cast: Orso Maria Guerrini as Luke Ferro, Lisa Har-
row as Anna Davis.
24. THE LAST ENEMY
The moon finds itself in the middle of an interplanetary
war between Betha and Delta. An escape capsule from
one of the warships lands on the moon hoping for
safety— and beautiful Dione emerges from it. Dione is a
commander from Betha who offers the Alphans asylum
on her planet— but too late. Koenig attempts to negotiate ,
a cease-fire as a disinterested party— but there are things
Dione has not told them.
Screenplay: Bob Kellett
Guest cast: Caroline Mortimer as Dione, Maxine Audley
as Theia, Kef in Stoney as Talos.
Only twelve episodes of the second season
were completed at press time. Our f ilmography
of the second season will
continue in the next issue of STARLOG.
An alien insisting he is friendly captures an Eagle with its
two astronauts. When Koenig and Russell lead a rescue
party, they too are taken by the ruler, Mentor, who
transports them in a green sphere of energy to his head-
quarters. Still insisting he is friendly, Mentor tells
Koenig that he needs their help in rebuilding "Psychon."
Though he does not admit his plans even to his daughter,
Maya, he intends to empty the minds of the Alphans to
fuel his mammoth biological molecular transformer—
with which he hopes someday to make an Eden of his in-
hospitable world. Maya, transforming herself into a dove,
flies to the caves where the zombies— who were men
before Mentor used them— toil. Convinced, she tries to
help the Alphans escape.
Screenplay: Johnny Byrne
Guest cast: Brian Blessed as Mentor, Anoushka Hempel
as Annette Fraser.
ALL THAT GLITTERS
The Alphans land on a desert planet that is apparently
lifeless— but it's in the possession of hostile living rocks,
organisms that can communicate, transport themselves,
and attack by emitting deadly rays. The rocks are
desperate for life-sustaining water. When a seemingly
harmless specimen is taken aboard an Eagle for analysis,
it takes command of the ship, paralyzes Helena Russell,
and enslaves Tony Verdeschi.
Screenplay: Keith Miles
Guest cast: Patrick Mower as David Reilly.
Cylinder-shaped objects are discovered orbiting the
moon. One is recovered and opened: there is the frozen
body of a young man. Restored, the alien identifies
himself as Cantar and begs that Koenig save the rest of
his people— floating in pairs or family groups, cast out by
invaders of their planet, Golos. Koenig instructs that the
cylinder containing Cantar's wife, Zova, be brought
down. Cantar and Zova take over Alpha and abduct
Helena and Tony— whom they transport to their home
planet. Cantar and his group are not outcasts, but exiled
Screenplay: Donald James
Guest cast: Peter Duncan as Cantar, Stacy Doming as
Zova, Margaret Inglis as Mirella.
JOURNEY TO WHERE
Alpha receives a startling message from Texas City,
USA! A breakthrough in neutronic technology provides
transference of messages and material objects through
time and space. Koenig, Russell, and Alan Carter are the
first Alphans to return to earth. But something goes
wrong, and they end up on earth in 1339, during the
scourge of the Black Plague. It is Maya who discovers a
method of rescue.
Screenplay: Donald James
Guest cast: Freddie Jones as Dr. Logan, Isla Blair as
Carla, Roger Bizley as MacDonald, Laurence Harrington
as Jackson, Jefferey Kissoon as Dr. Ben Vincent.
THE MARK OF ARCHANON
On a search for dylenide crystals in a sublunarean tunnel,
Alan Carter and Andy Johnson come upon a man-made
metal cabinet obviously buried for many years. Dr.
Russell revives the two occupants in suspended anima-
tion. The alien Pasc and his son, Etrec, from Archanon,
"the planet of peace," were on their way to Earth to put
an end to our destructive wars when they were infected
with a horrible disease. Now that they are revived, the
disease begins to spread among the Alphans, who become
violent and convulsive.
Screenplay: Lew Schwartz
Guest cast: John Standing as Pasc, Michael Gallagher as
ONE MOMENT OF HUMANITY
A lovely female alien, Zamara, appears in a dazzling burst
of energy, cuts off Alpha's power with a wave of her hand,
and abducts Helena and Tony. On Zamara 's planet, Tony
and Helena discover that Zamara is the leader of a society
of androids served by humanoids. The super-robots want
Tony and Helena to help them learn the secret of emotion,
so that one day the androids can make themselves fully
Screenplay: Tony Barwick.
Guest cast: Billie Whitelaw as Zamara, Leigh Lawson as
Zarl, Geoffrey Balydon as Number Eight.
THE RULES OF LUTON
On a lush green planet, Maya innocently uproots some
flowers— and hears a thunderous accusation: "Cannibals!
Murderers! You shall be punished!" Maya and John
Koenig are suddenly transported to a planet where they
face three gruesome aliens— who are also "guilty of
murder." It's a fight to the death, the winner to be given
freedom, in a cat-and-mouse jungle chase.
Screenplay: Charles Woodgrove.
Guest cast: David Jackson, Godfrey James and Roy
Marsden as the three aliens.
A motley spaceship, the S.S. Emporium, carries
Taybor— sultan of space, jack-of-all-trades, wheeler-
dealer— to Alpha. He has for sale a "jump-drive" device
that might be able to transport the Alphans through
hyperspace back to earth. Taybor wants only one thing in
payment: Maya! He's perfectly happy to kidnap her when
a trade cannot be arranged, but he hasn't counted on her
power of molecular transformation.
Screenplay: Thom Keyes.
Guest cast: Willoughby Goddard as Taybor.
THE BETA CLOUD
After drifting through a multi-colored cloud in space, the
Alpha crew is left incapacitated and depressed through
loss of will. Eagle Six, sent out to track the cloud,
mysteriously reappears on the moon's surface. Aboard is
a huge terrifying creature which kills two security guards
and survives the laser blasts from Tony and Bill's guns.
The space cloud begins to take shape; it's a planet, and it
intends to take over Alpha. The monstrous creature
seems unstoppable: Maya transforms herself into animal
after animal in an attempt to subdue the thing— and final-
ly attempts to make herself a micro-organism and infect
the creature from within.
Screenplay: Charles Woodgrove
Guest Cast: none
BRIAN THE BRAIN
The moon is under intense gravitational attraction from
what Koenig fears is a black hole— when the Swift, a
spacecraft claiming to have come from earth— lands at
Alpha. Aboard there is only a robot; the men are long
since dead. The robot identifies itself as "Brian" and,
though at first seemingly harmless, kidnaps Koenig and
Russell and takes them to the planet where his crewmen
died. Maya and Tony plan a rescue mission— not knowing
that Koenig has discovered the source of the gravita-
tional disturbance, while on the planet with a lethal at-
Screenplay: Jack Ronder
Guest cast: Bernard Cribbins as Captain Michael
THE CHRYSALIS A-B-C
A planet surrounded by concentric rings of moons is
sending violent energy beams into space— and causing
serious damage on Alpha . . . which is being drawn into a
collision course with the planet. The closer they get the
more devastating the effects of the beams. Alan, Maya,
and Koenig take off in Eagle One to investigate. They at-
tempt to land on one of the moons, then are forced by arcs
of electricity to head for the planet itself— where they
discover a race of giant chlorine-breathing beings sleep-
ing in a chrysalis state while their automatic defense
system protects them. Koenig fires his laser at the sleep-
ing monsters . . . and wakes them up.
Screenplay: Tony Barwick
Guest cast: Ina Skriver as A, Sarah Douglas as B
CATACOMBS OF THE MOON
Patrick Osgood and his excavation team are underground
searching for minerals, planting charges of hyper-nitro—
when suddenly a series of explosions hurls Osgood into
what seems a Dali-esque hallucination on the moon's sur-
face. He sees his wife, Michelle, in a great four-poster
bed— dying. Osgood believes he has seen the future, and
that Alpha is doomed. Sensors detect a steady rise in
temperatures at Alpha . . . the hyper-nitro is taken to
cooler underground storage . . . Osgood goes insane . . .
Eagle One enters a fire storm . . . and the Alphans come
face to face with the aliens who have been creating this
hell in space.
Screenplay: Anthony Terpiloff
Guest cast: James Laurenson as Patrick Osgood, Pamela
Stephenson as Michelle Osgood
ln"Metamorph," Maya's father
is the overly zealous inventor of a
biological computer with which he
hopes to rebuild his dead world.
An Eagle ventures from the relative
safety of Moonbase Alpha and heads
into the dangers of uncharted space.
Buster Crabbe, the Olympic swimmer turned actor
who played Flash Gordon, has recently been touring
colleges to lecture on his legendary character. An
imaginative pornographic satire. Flesh Gordon, is
currently titillating adult audiences across the coun-
try. And it was PBS— the high-brow educational
television network— that opted to run all the
episodes of all three Flash Gordon serials . . . which
are challenging the major networks for ratings in
some areas! If it seems peculiar that such a primitive
epic could gain a new fan following in our age of real
space travel— then return with us now to those thrill-
ing days of 1936 . . .
On the Planet
ByGARYGERANI turn on extra imagination and fake
Back in 1936, Universal Pictures— a
champ among serial makers— had
never made an outer-space film of
any kind. And here they faced com-
mitting to celluloid the equivalent of
a four-and-a-half hour sci-fi epic. On a
They had decided to serialize Alex
Raymond's comic-book stories of
Flash Gordon— & splendidly drawn
character in a breathtaking fantasy
world of the future. "Camp" was a
concept utterly alien to the 1936
mind; they believed: if you're going
to do something, you take it on its
own terms and do it right. Or you
The space hardware, futuristic
cities, special effects, crowd scenes,
even the costumes were impossibly
expensive. And they had no lead ac-
tor charismatic enough to work for
the modest fee they could offer.
The actor problem was solved for
them as soon as Buster Crabbe
walked into the Universal casting of-
fice. He was Flash Gordon.
Crabbe had been an Olympic swim-
mer turned lawyer (would you believe
he had his law degree when he played
Flash?) who had done theatrical work
in college. In 1932 he made a grade-B
adventure, King of the Jungle, in
which he played a Tarzan-like charac-
ter, and the next year, he played the
Ape Man himself in Tarzan the
Fearless. Crabbe was already flirting
So why was a successful actor will-
ing to take the Flash Gordon role? He
liked the comic hero— had, in fact,
kept up with Flash's exploits avidly.
And he knew that he was right for
the role and that the role was right
The problems of settings and space
hardware were solved nearly as easi-
ly: Universal simply bought from
20th Century-Fox the left-over props
from a musical fantasy, Just
Imagine, which had come out the
previous year and fizzled. They also
bought whole sections of footage
from the film!
That famous Flash Gordon space
ship was one of the props they
bought— both the miniature and the
full-scale mock-up. They then used
what was left of the set-and-prop
budget to design and build other
machinery and sets that matched
(roughly) the designs from Just Im-
agine. Hence, the serial lacked the
super-sleek ships of the comic
drawings— but did have an integrity
of design. One of the scenes they
transplanted bodily from Just Im-
agine was the extravaganza of wor-
shipful maidens and the Great God
We are indebted to King Features Syn-
dicate, Inc. for permission to reproduce
these wonderful examples of Alex Ray-
mond's superb cartoonery. This material
was supplied by Woody Gelman who, in
cooperation with King, has published
several beautiful volumes of original Flash
Gordon strips, and we wish to thank him
for his kind cooperation. If you can't find
these books in a local store, write: Nos-
talgia Press, Inc., Box 293, Franklin
Square, N.Y. 11010.
Tao! This, and other "stolen"
footage, dictated the style of in-
teriors for the various palaces and
subterranean escape routes.
Of course many of the Flash Gor-
don trappings were invented just for
the serial: the Gyro-ships (about two
feet in diameter), flying monkey-men
(both miniatures and costumed men
on piano wires), models of floating
and submerged cities, ray guns,
throne rooms, etc. Being untrained in
the methods of filming miniatures,
they opted for a system wherein the
model space ships hung stationary,
while a background of clouds moved
The Flash Gordon producers raided
the Universal storeroom for reject
costumes and designed others to con-
form to the items they were able to
get for nothing.
The music is a remarkable hodge-
podge that works astonishingly well
much of the time. They took "free"
stuff from serious composers (largely
Liszt— as The Lone Ranger on radio
was doing) and borrowed whole sec-
tions from the recorded scores of The
Bride of Frankenstein (by Franz
Waxman) and The Invisible Man (by
Yet the one element present-day
critics praise about the serials is their
originality. And it's true.
Never before had such wholly im-
aginary flights of fancy been offered
in cliff-hanger serial form. And of-
fered not only for the suspense plots
but also for fun. Viewers are likely to
forget the ludicrous speeded-up fight
scenes, but the wild laughing image
of the boisterous King Vultan doing
shadow pictures on the wall for Dale
Arden . . . that's an image that will
linger on in memory.
While the western, mystery, and
super-hero serials often built their en-
tire climaxes around fist fights,
Flash was reserving his strength.
The hand-to-hand combats in Flash
Gordon were either tossed off mid-
episode or were constructed to be
weird contests requiring in-
genuity more than brute force.
And the bizarre anachronisms!
Castles, warriors, dragons, spears-
all the images of traditional fan-
tasy—interwoven with space ships
and ray guns. It was possible because
of the children's storybook approach
to plot: evil villains, true-blue heroes
and wild larger-than-life perils. But in
Flash Gordon, Ming the Merciless
loved his daughter, and all- American
Flash made some stupid mistakes.
There was a rounding-out of the
characters unlike that in other'
The traces of contemporary reality
that did appear had strictly adult ap-
peal: Ming was an oriental, a reflec-
tion of the "Yellow Peril"— while
King Vultan was based on Wagner-
ian Germany. In 1936, the United
States was still trying to cooperate
with the dangerous Nazi state— so
Vultan ultimately became Flash and
Flash was college America personi-
fied; Dale was young womanhood in
all her 1936 purity; Zarkov was the
man of intellect. All of them symbolic
stereotypes and yet flesh and blood.
Most important, Flash Gordon was
intended as light entertainment.
Even back when it was new, there
were built-in laughs and built-in
delights. Today, perhaps unfortu-
nately, there are laughs that were
never intended— due to some
"wooden" acting, some pretty sappy
dialog, and some technical areas
where the filmmakers' imaginations
could not quite make up for the lack
But there are viewers today who
recognize the sense of awe implicit in
the Flash Gordon stories, the in-
nocence suggested by comic-book
good-guys always striving to do the
right thing, and the picture of a
fabulous world in which science is a
shiny new toy.
This is the universe of Flash Gor-
The 1936 Universal Serial
Chapter One: THE PLANET OF PERIL
Our world is doomed! Flash Gordon, Dale Arden and Dr.
Zarkov board the doctor's rocket plane and speed to
Planet Mongo in an attempt to divert the runaway world
from its collision course with the Earth. After escaping
gigantic lizards on the planet's surface, the Earth party is
brought to the palace of Ming the Merciless, self- pro-
claimed Emperor of the Universe. Ming's advances
toward Dale lead an angered Flash into a scuffle with the
palace guards and finally to a bout with three vicious,
hate-crazed monkey-men! After besting them, Flash is
joined by Ming's love-struck daughter, Princess Aura,
and both plummet through a trap door to an uncertain
fate below . . .
Chapter Two: THE TUNNEL OF TERROR
Saved from both the fall and the hungry Dragon of Death
by a net, Flash and Aura race through the underground
tunnels while eluding Officer Torch and his soldiers. Aura
then returns to her father and tries to convince him to
give the Earthman his freedom while Flash, now wearing
his familiar Mongo costume, engages in an air battle with
a fleet of Gyro-ships. After the confrontation, he
befriends the Lion Man,Prince Thun, and the two speed to
the rescue of Dale, who seems doomed to become Ming's
bride. But on his way to stop the marriage ceremony
Flash is caught in the deadly grip of a giant lobster-like
dragon called the Gocko . . .
Chapter Three: CAPTURED BY SHARK MEN
Using a ray gun, Thun saves Flash from the Gocko and
the two burst into the palace and rescue Dale. A trap
door, however, drops Flash and Dale into the ocean and
both are captured by the Shark Men. After traveling to
King Kala's palace by hydro-cycle, Gordon challenges the
undersea ruler to a fight. Flash proves to be the first man
ever to defeat Kala in physical combat. But the King suc-
ceeds in tricking his adversary into a tank filled with
water. Emerging from a secret panel is the dreaded Oc-
tosac, a tentacled creature that threatens gruesome
death . . .
Chapter Four: BATTLING THE SEA BEAST
Princess Aura and Thun force King Kala to drain the
water from the tank, saving Flash's life. Aura then leaves
Thun to keep an eye on the King while she rushes to the
tank. Dale, meantime, has come to after fainting at the
sight of Flash in trouble and joins Thun. Scuffles ensue as
the Earthman, now fully revived from his underwater or-
deal, battles Kala's henchmen. But before Flash can stop
her misguided act, Aura destroys the oxygen supplying
machinery, and Kala's underwater palace— with all its
inhabitants— is threatened with destruction . . .
Chapter Five: THE DESTROYING RAY
An ally of King Kala, Ming raises the submerged palace
from the water and saves the lives of everyone within it.
Once again on the surface of Mongo, Flash finds himself
separated from his friends, who are captured by the
Hawk Men and taken to their leader, the boisterous King
Vultan. Meanwhile, Prince Barin, a new ally of the Earth
people flies them to the sky city of Vultan in his rocket-
ship, but the craft is threatened by the heat of the Hawk
Men's melting ray . . .
Rushing to rescue Dale, Flash only succeeds in getting
himself captured again. Meanwhile, Emperor Ming ar-
rives to fetch both his daughter. Aura, and his afianced
bride, Dale Arden. While the guards in the Atom Furnace
Room aren't looking, Dr. Zarkov manages to connect an
electrical wire to a shovel. Flash decides to use it for his
escape and throws the shovel into the Atom Furnace,
blowing it up . . .
Chapter Six: FLAMING TORTURE
The Hawk Men guide Barin 's immobilized rocket plane
safely into the city where Vultan orders both Flash and
Barin into the Atom Furnace Room as toilers, while
Zarkov is enslaved and sent to the laboratory. Vultan,
meanwhile, elects to keep Dale as his bride. Princess Aura
convinces the Earth woman to pretend to like Vultan so
that Flash's life may be spared. After an elaborate feast,
the King decides to test Dale's loyalties by observing her
reactions to Flash Gordon's torture . . .
Chapter Eight: TOURNAMENT OF DEATH
The explosion caused by the destruction of the Atom Fur-
nace knocks Vultan's sky-city off balance, and the King
gives his word that the Earth people will be freed if
Zarkov can remedy the situation. A new ray invented by
the doctor does just that. But Ming, by right of being
Emperor of the Universe, calls for a tournament of death
before the Earthlings can be released. First, Flash fights
the Masked Swordsman of Mongo— actually Prince
Barin, who hoped to save Flash by wounding him. The
Earthman's second opponent is more formidable: a huge-
gorilla-like creature called an Orangapoid . . .
Chapter Seven: SHATTERING DOOM
Vultan stops the torturing of Flash Gordon and gives the
Earthman to Princess Aura! She in turn takes Flash to
Dr. Zarkov, where he is revived by an electro-stimulator.
Chapter Nine: FIGHTING THE FIRE DRAGON
With Aura's help, Flash vanquishes the Orangapoid. The
victors of the battle are then invited to Ming's palace
where they will choose their brides. Aura, plotting to
steal Flash for herself, consorts with the High Priest and
slips the Earthman "drops of forgetfulness, " which also
render him unconscious. Moving the sleeping Flash
through a tunnel guarded by a huge Fire Monster now
sleeping, Aura is betrayed by the High Priest, who rings
the sacred gong to awaken the monster . . .
Chapter Ten: THE UNSEEN PERIL
Dr. Zarkov destroys the Fire Monster with a grenade and
rescues Flash. But when the day arrives for him to choose
his bride, Flash remembers no one! Aura seems to be win-
ning the dazed Earthman's confidence when Barin
knocks him out and takes him to Zarkov's laboratory.
There Gordon's memory is restored. Ming, however, will
take no more chances! He orders Flash Gordon executed
at once and, as Torch and his guards prepare to fire upon
him, Flash miraculously becomes invisible . . .
Chapter Eleven: THE CLAWS OF THE TIGRON
Zarkov explains that the machine Flash was standing in
front of has rendered him invisible. Flash uses this to
teach Emperor Ming a lesson, throttling his soldiers with
unseen hands. Dale, meanwhile, has been taken to a place
of safety in one of the tunnels. But a vengeful Princess
Aura looses a deadly Tigron in Dale's direction . . .
Chapter Twelve: TRAPPED IN THE TURRET
Flash arrives just in time to save Dale from the claws of
the deadly Tigron. Barin, meanwhile, has convinced
Princess Aura to help the Earth people escape. Ming is
persuaded by his daughter to let them leave Mongo, but
then he decides to destroy them after all! Barin agrees to
meet his friends in a rocket ship by the Lake of Rocks, but
he is captured and replaced by one of Ming's soldiers—
who fires upon the unsuspecting Flash and his friends . . .
Chapter Thirteen: ROCKETING TO EARTH
Surviving the attack from the rocket plane they believed
was piloted by Prince Barin, Gordon's party journeys
through the tunnels beneath Ming's palace and discovers
Barin a prisoner. After rescuing him, they return to the
laboratory, but are once again captured by Ming's
guards. An attack from Thun and his Lion Men disrupts
Ming's plans. Realizing all is lost, the Emperor races into
the mist-shrouded chamber of the Great God Tao, where
he perishes. Flash, Dale, and Dr. Zarkov prepare to leave
Mongo for Earth, and bid farewell to their friends. But a
time bomb planted aboard Zarkov's rocket plane by the
crafty High Priest threatens to destroy the Earth party.
Fortunately, they discover it in time! The three brave
space travelers return to their native planet ... as heroes.
\MMZ& UGJ ILC^E
In keeping with Hollywood's trend toward nostalgia escapism,
those fearless, larger than life, comic book crusaders of yesteryear
are making a comeback. Both movies and TV are swamped with pro-
jects based on the thrilling pen and ink drawings of America's
favorite comic creations. And far from the campy, self-destructive
parodies that sprang from the Batman video craze a decade ago,
most of these new incarnations are being played straight!
Urandaddy of all muscle-popping
heroes and walkaway champ of the
bunch is Siegal and Shuster's Super-
man— Kryptonian by birth but
Earthman by upbringing. The Man
of Steel inspired a rash of cartoons
(the most effective being the
Fleisher- Paramount creations during
the Forties), the famous TV series
starring George Reeves, the Kirk
Aylan movie serials, and more recent-
ly a Broadway play.
Now, with a super-budget behind
him, he returns to the big screen in
Paramount's much-talked about
Superman, the Man. Mario Puzo, the
man who wrote The Godfather, is do-
ing the screenplay, while directing
chores are being handled by veteran
James Bond director Guy Hamilton.
Who will be playing the Man of
Steel in this new contemporary
adventure? Would you believe . . .
Burt Reynolds? How about Robert
Redford? James Caan? All three have
been considered, although at press
time no decision has been reached.
However, the role of Superman's
father has been cast: Marlon Brando.
Superman, of course, is the
flagship title (and character) of Na-
tional Comics, home of Batman, The
Flash, Wonder Woman, et al. Despite
this impressive collection of classic
crusaders, National is still a rather
embarrassed "number two" in the
comic book sales sweepstakes, trail-
ing behind Stan Lee's more vibrant
Marvel Comics Group.
The flagship fellow of this latter
organization is The Amazing Spider-
Man: in civilian life a goodtime col-
lege Joe named Peter Parker who was
bitten by a radioactive spider some-
time back in his senior year in high
school. Since then he's been guarding
Manhattan in a red webbed outfit,
clobbering weird villains and becom-
ing something of a cult figure.
It took years of negotiations, but the comics event of all time finally
happened: Superman and Spider-Man in the same magazine. Not only was
it difficult to cross from DC-Land to Marvel-Land, but there was nothing
small about the comic, including the size. "Superman vs. the Amazing
Spider-Man" is the longest comics story in history — over ninety pages.
out. t. can €.66 n
the brush covering
the tunnel exit. /
Above: What happens when you find
this guy capable of leaping tali
buildings in a single bound? You take
six-million dollar Steve Austin and
give him his own comic, that's what!
Right: Barbarella. believe it or not,
first appeared in the French daily
newspapers, just like Dick Tracy.
Lovely Jane Fonda appeared in the
title role of this very fanciful
film along with stars like Marcel
Marceau and John Phillip Law.
Below: Lynda Carter appears this
fall in the title role on ABC's The
New, Original Wonder Woman. Most of
the episodes will be featured on
Movie of the Week Double Features.
Above: The new movie Superman, the
Man is still looking for a leading
man, but Mario Puzo (The Godfather)
is writing the script, and Marlon
Brando is playing Superman's father.
Sounds like a great beginning!
Above: Raquel Welch (shown here in
costume for One Million B.C.) should
Make a spectacular Sheena for the
upcoming film version of the 1940s
comic, Sheena, Queen of the Jungle.
Although Spider-Man has already
been brought to video life via a series
of cartoons and a live-action stint on
PBS' The Electric Company, Stan
Lee has announced a major motion
picture about Spider-Man to be pro-
duced by Steven (Fritz the Cat)
Krantz. Few details are known, other
than it will be a live-action ex-
travaganza, with a reasonably high
budget. Another Marvel super-star,
The Incredible Hulk, is also slated for
a movie adaptation.
And while male superfolk engage in
fisticuffs and violent brawls, their
female counterparts have suddenly
leapt into the field with a startling
enthusiasm. Indeed, there is a steadi-
ly growing trend in America, pos-
sibly inspired by the woman's lib
movement, toward the super-strong
female. On TV, The Bionic Woman is
a smash hit and a miniskirted super-
girl named Isis has proved to be the
most popular personality on Satur-
It was inevitable that the exciting
comic book character who started
this sub-genre would finally come in-
to her own in a new, spectacular way.
Watch out, Clark Kent . . . make way
for Wonder Woman!
Charles Moulton's famed lasso-
twirling, invisible-plane flying,
bullet-deflecting supergal has been
given the royal television treatment
by Warner Brothers in a series of
pilots and specials called The New,
Original Wonder Woman— boasting
a perfect physical beauty, Lynda
Carter, as the lead.
The studio originally tried to get
the project off the ground a few years
back with a disastrous feature pilot.
Afraid of repeating the same campy
mistakes of TV's Batman, they opted
for an equally inappropriate super-
slick, James Bond spy flavor, and
cast Cathy Lee Crosby as a mod
Right: one of the most delectable
and deadly (to her other-worldly
enemies) of modern comic heroines,
Vampirella has developed a sensa-
tional following in a very short
time. Now to be made into a full-
length motion picture, Vampirella
will be played by a former Playboy
Playmate Barbara Leigh. Peter Cushing
will co-star as Vampirella's loyal
friend, Pendragon the magician.
Wonder Woman. The idea, while
good on paper, backfired in actual
performance. So it was back to the
old, Nazi-clobbering heroine of the
Forties, decked out in her familiar
While certain elements of camp pop
up every now and then, the producers
of the The New, Original Wonder
Woman are careful never to hu-
miliate or make fun of their heroine
for the sake of a cheap laugh. In addi-
tion to the splendid Ms. Carter, an
equally inspired bit of casting is the
talented Lyle Waggoner as Major
Steve Trevor, WW's sweev heart and
Though piloted to ABC, they chose
to pick up The Bionic Woman as a
regular outing instead, and seemed
reluctant to buy another "super-
woman" type program. Their option
on WW was to end this coming No-
vember. If ABC hadn't bought it by
then, NBC had a firm order in for 13
episodes to be run on their network.
ABC came through in July, however,
and ordered 11 hours of Wonder
Woman. Oddly, there will be some
hour-long episodes and some movie-
length specials in the package.
Another comic book female on the
comeback trail is Sheena, Queen of
the Jungle. Womandom's cap-
tivating answer to Tarzan will be em-
bodied by Hollwyood's last great sex
symbol, Raquel Welch, in a high-
budget adventure yarn lensing now
for Universal. Sheena, of course,
Wears a skimpy leopard skin, bone
bracelets, flashy blonde hair (Rac-
quet's will have to be dyed) and a
superstructure that is amply dis-
played. In addition to the popular
comics feature, the character
spawned a short-lived television
series in the early fifties, with Irish
McCalla as Sheena.
Above: In spite of the outrageously "campy" treatment. Batman (Adam
West) and Robin (Burt Ward) lived and fought through several seasons
before succumbing to that fatal illness: television over-exposure.
Below: Recently, there has been a reversal of the adaptation process.
Comic books are being made from popular films and television shows.
The comics based on the Planet of the Apes movies are perhaps the best known.
Left: Sheena, Queen of the Jungle,
appeared in 1938 in Jumbo Comics,
and later graduated to her own title.
Ahead of her time, in several ways,
she strode through the forest always
on the lookout for white exploiters
of the inhabitants and purity of
her vast and savage jungle domain.
Combining several imaginative
worlds, there's a female of a very dif-
ferent caliber: super-sensual as well
as super-powered, Vampirella is a
scantily-clad bloodsucker from a
planet named Draculon who fights in-
tergalactic bad guys and her own
The comic book, a large-sized black
and white magazine, is produced by
Warren Publishing, an outfit known
for its classy merchandise. Now Vam-
| pirella (created in the early sixties) is
going to be a major motion picture,
with ample doses of sex, horror,
hokum, and violence.
Famed chiller company Hammer is
I producing the movie in England,
I with veteran frightmaster Peter
| Cushing as Vampirella 's platonic pal,
I Pendragon the magician. Fleshing
I out the lead, literally and figurative-
J ly, is a lovely young thing named
I Barbara Leigh. The plot, featuring
zombies, aliens, spies, and wacky
villains.seems to be a parody of both
horror and secret agent flicks, with
sex thrown in for good measure. One
I thing's tor certain: the fetching Ms.
I-eigh, decked out in her extremely
abbreviated Vampirella outfit, is one
| of the most stimulating images ever
to pop off a comic book page and onto
Several recent ambitious attempts
to recapture the spirit of comics on
films have bombed. Most notable
was George Pal's much-heralded Doc
Savage, the Man of Bronze. Warner
| Brothers was so sure it was a loser
that they hardly distributed it to
theaters at all, passing it on to cable
TV after the first few weeks of
A main reason for this failure
seemed to be the hopelessly campy
treatment of the material— so embar-
rassing it sent enthusiastic comic
fans at the preview cringing from
The "straight" handling of TV's
Six Million Dollar Man and Bionic
Woman shows seems to have con-
vinced Hollywood that lasting suc-
cess depends upon taking a super-
adventure on its own terms— not
upon ridiculing it.
If so, we can have high hopes for
these newest comic heroes and
heroines being brought to life for
television and movie screens. ^
(Continued from page 8)
of $25,000 was mentioned.
So far, it seems as if the subject has been dropped. But
the incident probably prompted so much coverage, on local
TV and in the tabloids, that the expense of a quarter of a
million on an additional Kong statue became unnecessary.
But let's get back to the main event. Having once laid
out the great simian in his bed of simulated broken
flagstones, the producers then had the problem of keeping
their 45,000 invited spectators from touching and possibly
damaging the guest-of-honor's crepe hair and rubber
That problem was partially solved by another problem:
no one could tell who was who in all the confusion. There
were real cops and movie cops, real reporters and film
crews, and fake reporters and film crews. It looked like
there were twice as many officials as there really were.
Crowds will be crowds, however, and some fearless in-
dividuals did reach the stricken model. Kong was
touched— but not damaged. The only blood spilled during
the filming was a mixture of Karo syrup and red food, col-
oring that was spread over the ape in strategic places.
There's just something about the King Kong story that
leads one to think in gigantic terms:
The largest ape falls from the tallest towers in the
largest city, is seen by the largest crowd and is recorded
on film for a movie that costs $22 million dollars. Still
thinking big, Paramount has already booked the film into
over a thousand first-run theaters— all over the world.
Perhaps an awareness of the astronomical proportions of
the project is what made that unique glow— like a cold fire
over Wall Street— so tantalizing to us mere mortals who
witnessed the event.
LEONARD NIMOY IN SEARCH OF . . .
Bristol-Myers has committed $1.3 million for the filming
of 24 30-minute shows to be called In Search of . . ., which
will tackle popular "unexplained" phenomena with new
research and extravagant film techniques. Leonard Nimoy
has been signed to host the series, which will include
segments on UFO landings, the Loch Ness monster, Drac-
ula (filming in Hungary), voodoo, ESP, Stonehenge, miss-
ing Nazi treasure, and witchcraft. Bantam Books has com-
missioned the show's producer, Alan Lansburg, to pen six
books based on the scripts; the first will be on lost civiliza-
tions, the second on extraterrestrials.
NEW WAR OF THE WORLDS RECORDING
Richard Burton narrates and The Fighting Machine pro-
vides a rock background on a new double-LP based on
H.G. Wells' War of the Worlds. Rock singer David Essex
also appears in this updated telling of the famous Martian
invasion. Record producers are Jerry and Jeff Wayne,
with the music composed by Jeff. Due in record stores in
FOOD FOR THOUGHT
The Wells novel that the new film, Food of the Gods, is
derived from was an unambiguous warning of overpopula-
tion, ecological imbalance, and famine— written in 1904.
It's all about a substance that could "solve" everything—
by increasing the size of food substances. Of course,
things get out of hand.
Want to increase your terror while viewing, or thinking
back on, the movie? Consider the following recent items of
A man in northern California has been using hormones
to increase the size of his chickens. A four-year-old boy
was spurred to death on his farm by a 30-pound rooster.
A "thing" was spotted near Camp Pendleton in south-
ern California. It was at first thought to be a mountain
lion, but it turned out to be a 100-pound rat.
A type of grasshopper in Vietnam is able to ward off its
enemies by secreting a chlorinate compound it ingests
from a man-made chemical weed-killer.
The notorious "killer bees" of South America are the
result of cross-breeding the honey bee with a more vicious
African strain. The cross-breeds have been known to kill
both animals and men— and are swarming toward the U.S.
border at 200 miles a year.
None of this proves that man shouldn't "tamper" with
nature in order to improve his lot . . . but it sure indicates
that things can get out of hand!
BEHIND THE BIG BUS
Paramount's The Big Bus is an outrageously funny
satire on practically every disaster movie ever made— from
Titanic to Earthquake— with more than a dose of Airport
thrown in. The Big Bus is about the maiden run of
"Cyclops"— of a three-story 106-foot-long nuclear-powered
passenger bus — from New York to Denver. The bus has a
bowling alley, swimming pool and cocktail lounge; and be-
fore the disaster climaxes, it's been bombed twice by a
mad industrialist and an old Chevy pick-up has crashed
into the cocktail lounge.
The bus— the largest prop ever used in Hollywood, the
filmmakers say— cost $250,000 and weighed 75 tons. It
was designed by Joel Schiller. "I thought the guys on
Jaws had their problems with a mechanical shark," says
Schiller; "I had a 75-ton Cyclops! The four rear wheels
holding up the jet engine are nearly five feet high and
weigh 1,100 pounds each. I didn't find out how much the
bus weighed in total until I got the news that we had to
hang the whole thing over a cliff with people aboard."
The finale is truly amazing. There's not a trace of "blue
line" to indicate any trick photography.
Schiller explains: "I finally used a 125-ton crane with
heavy-duty cable to pick up the bus and suspend it over a
dam site in Big Tujunga Canyon. Then we had to hide this
incredibly large crane with trees.
"After I had spent the $250,000 budget for the-bus, I
had to make it as watertight as a VW bug: I found out at
the end of the script, we had to flood the passengers up to
their waists in Coca Cola, Fresca, and donuts."
On-the-set experiences with the big prop proved almost
aa funny as some of the events in the movie. The day the
bus was to be tested, it was driven out of Paramount Stu-
dios at 9:00 a.m.— on its way to the Los Angeles racetrack
for a trial run. It broke down at 9:02. The engine was com-
pletely burned out. During filming, when a rigged "bomb"
exploded— as the bus was careening down the highway—
the rear of the # bus was actually blown off and had to be
repaired, at a cost of $10,000. One day, high in the moun-
tains, the bus engine began to run hot; fearing another
burnout, the chief mechanic poured in the only liquid on
hand: three gallons of Kool-Aid. It worked.
Miraculously, out of 32 tires, not one flat was ex-
The Big Bus stars Joseph Bologna, Stockard Charming,
John Beck, Jose Ferrer, Ruth Gordon, Harold Gould,
Larry Hagman, Lynn Redgrave, Sally Kellerman, and
In the last issue of STARLOG we announced an event
called SF Expo '76, organized by a New Jersey
corporation— Science Fiction Services, Inc. with Jim Har-
vin as president.
The exposition was promoted as the greatest sci-fi event
ever, but that's all it was: promotion. A few days before
the scheduled dates, we were informed that the activity
had been "postponed," and a refund was offered to all who
STARLOG, in order to participate in this event, had
purchased several memberships as well as a dealer table.
We made numerous requests for our refund, but to this
date, we have not received a reply. We can only assume
that the parties involved are unable or unwilling to meet
this financial obligation.
This is the kind of group we do not want to support.
The convention circuit is littered with "get rich quick"
schemers, drooling for the quick cash that fans are willing
to dish out for love of "Star Trek" and science fiction in
general. Some of these guys even have good contacts and
creative ideas, but usually their organization lacks depth.
They are too easily toppled, and their supporters are the
STARLOG suggests that you be wary with your money,
since it is impossible for us to investigate all of the public
events we will announce in Log Entries.
Any other parties who have similar claims against
Science Fiction Services, Inc. are invited to write our
publishers with details, in the hopes that we may jointly
recover our monies.
A CLUE TO CHILDREN'S SCI-FI
Ever wondered why there were so few of the splendid
animated Star Trek episodes made? And why it was
canceled? A recent item in Hollywood Reporter sheds
some light. It has to do with the currently running
Shazam and Isis programs. While CBS called both "the
superstars of Saturday morning programming," they con-
tracted for only seven Isis and six Shazam for the new
(Continued on page 56)
YOUR GUIDEBOOK TO THE
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(Continued from page 54)
season. The producers of the two shows, Filmation (who
did Star Trek), retorted with an indignant: "But we made
more than that last year, and you didn't know what you
were getting!" Then came the sad truth: when a show is
that successful, CBS explained, its episodes can be run
over and over. If the kids like them, they'll watch them
again— so fewer originals are needed.
Gene Roddenberry received an honorary Doctor of
Literature Degree at the commencement ceremonies of
Union University of Los Angeles in June.
DIFFICULT TO IMAGINE
Maurice Carter, production designer for both the current
At the Earth's Core and last year's The Land That Time
Forgot, said he found the new Burroughs story more dif-
ficult to bring to life. "For Land, I was dealing with
documented prehistoric monsters of known appearance
and characteristics. In Earth's Core, it is all Burroughs'
images, and I have had to translate them for the screen
purely from the descriptions from the pages of his book."
Carter created various monsters and man-eating plants,
the race of half-human Sagoths, and a dynasty of giant
lizard-like birds who keep a tribe of humans enslaved.
In one of the movie's most spectacular scenes,
bystanders and well-wishers wave as the great Iron Mole
cuts into the mountainside that will be its portal to the
world at the earth's core.
The film— currently playing across the country— stars
Doug McClure, Peter Cushing, and Caroline Munro.
American International's AT THE EARTHS CORE
MGM SCI-FI BANDWAGON
Although the definitive box-office figures are not yet in,
MGM is counting on the success of Logan's Run— in spite
of unenthusiastic critical notices. MGM has announced
that they have earmarked $25 million for four new sci-fi
epics (titles as yet unannounced). According to the
Hollywood grapevine, one of the four will be a sequel:
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It's a wonder nobody's done it before— although in a
way they've been doing it ever since The Creature From
the Black Lagoon. Now in pre-production for release in the
summer of '77: Nessie— the story of the Loch Ness
monster. Screenplay by Bryan Forbes; produced by David
Frost, Euan Lloyd and Michael Carreras, in association
with Toho. The film appropriately capitalizes on current
publicity concerning a bona fide Loch Ness scientific ex-
pedition being conducted under grants from the Academy
of Applied Science and The New York Times. The leader of
the real-life expedition, Dr. Robert H. Rines, said: "We
think we have what it will take to get the kind of informa-
tion zoologists and others need to identify what these
(Continued on page 63)
The real "invisible man" of science fiction movies is
the music composer. Perhaps it's because when he
does his work best, audiences don't notice; they just
feel. But growing numbers of sci-fi fans do notice,
and eagerly collect recordings of these film scores.
Now, for collectors and appreciators. . . .
The Music of the Spheres
By FRANK SQUIRES and DAVID HOUSTON
Shortly after the introduction of
sound, it was discovered that
■background music in drama can ac-
complish what mere pictures and
dialog can never do: involve the au-
dience directly in the emotions of the
characters and action.
This has been of crucial importance
in science-fiction. Often sci-fi stories
could bog down in technical detail or
impersonal events— if it weren't for
the persistent music stressing the
significance of the goings on.
The most prolific composer for
American motion pictures was Max
Steiner— and he was also one of the
best. He scored 155 films— including
Now Voyager, The Fountainhead,
Casablanca, and Gone With the
Wind— but none of his scores was
Above: Universal's Silent Running
more influential than his herculean
accomplishment for King Kong, in
The score for Kong was one of the
first to run the full length of the
film— with key motifs for major
characters, events, and moods.
Steiner set the standard for creating
suspense, terror, pain, love, and
triumph ... all in an other-worldly
In 1933, a limited-release album of
King Kong was produced by Allied
Records (Allied 1001). The record
quickly disappeared, and today it's a
terrifically high-priced collector's
item. In 1960, there was a tantalizing
five-minute bit of the Kong score in-
cluded on an album called "Fifty
Years of Movie Music" (Decca DL
79079). In 1975, United Artists
issued an interpretation of the score;
unfortunately the Leroy Holmes or-
chestrations did not do the music
justice (United Artists UA-LA
But there's a glorious suite of
Kong music— properly orches-
trated—currently available. It's on a
record in the Charles Gerhardt film
music series produced for RCA. The
album is "Now Voyager— The Classic
Film Scores of Max Steiner" (ARL
1-0136); the Kong suite contains:
"The Forgotten Island, Natives,
Sacrificial Dance, The Gate of Kong,
Kong in New York.
Another significant score was writ-
ten in 1935 by a young man who had
scored his first film while still a music
student— Franz Waxman. He added
a dimension of sheer psychosis to
movie music with his brilliant score
for The Bride of Frankenstein. In
places, it's positively hair-raising.
The music was so perfect for sci-fi
films that it was subsequently
"stolen" and fitted into the Flash
Gordon, Buck Rogers, and Radio
Patrol serials. Charles Gerhardt was
the first to record any of this score,
and a wonderful piece from it now ap-
pears on his "Sunset Boulevard— The
Classic Film Scores of Franz Wax-
man" (RCA-ARL 1-0708). The music
so perfectly describes the creation of
the female monster that you can
close your eyes and see it!
Things to Come, based on the H.G.
Wells novel, was produced in 1936
with Mr. Wells himself overseeing
the project. Wells recommended a
well-established British composer,
Sir Arthur Bliss, for the job of
underscoring the epic wars, plagues
and a fantastic world of the future.
Sir Arthur employed the stately and
proud English music style to ac-
complish the task. The music is huge.
An abbreviated version of the score
was just released on London Phase 4
(SPC 21149) with Bernard Herrmann
conducting an enormous orchestra.
An earlier version conducted by Sir
Arthur himself was released in 1958
on RCA (LSC-2257) and again more
recently on London Treasury Series
in stereo (STS 15112)— and it con-
tains some beautiful passages the
thrilling Herrmann version omits.
These three scores— Xing Kong,
The Bride of Frankenstein; and
Things to Come— comprise the foun-
dation upon which most other sym-
phonic scores for sci-fi have been
In 1950, something new was added
to the growing vocabulary of musical
expression for sci-fi films: a sense of
infinity. Leith Stevens accomplished
it in his eerie score for George Pal's
Destination Moon. Melodies are in-
complete . . . dissonant chords swirl
among the violins . . . rhythms are
slow or non-existent . . . fragments of
counter-melody flit through . . . the
mode is neither quite major nor quite
minor. The effect is perfect: it is a
universe without walls and without
Columbia Records released a ten-
inch LP of Destination Moon in 1950
(CL 6151), which these days is fetch-
ing $40 to $70 on the collector's
market! Omega Records put out
another version, in stereo, around
1960 (OSL 3), which is also rare. A
few years ago, yet another pressing
appeared (Cinema Records LP-8005)
which can still be found at reasonable
prices. Side two of the Cinema disc
also contains some lost rarities:
themes from The Time Machine, The
Lost Continent, the David Rose
"theme" from Forbidden Planet, and
The next really new musical state-
ment was made in 1951 by Bernard
Herrmann. Herrmann added futurism
to the sci-fi sonic vocabulary, with
his wavering electronic score for The
Day the Earth Stood Still. His music
said, unequivocally, that the alien
had come not only from another
world but from an advanced civiliza-
Herrmann combined a convention-
al orchestra (with two pianos) with
electronic violin, bass, and guitar,
and two theremins (electronic tone
producers). But the result is real
music, not random "computer"
sounds, and it's awesome just to
close your eyes and listen to it! There
is an excellent suite, conducted by
Herrmann, on a superbly engineered
London Phase 4 record, "The Fan-
tasy Film World of Bernard Herr-
mann" (SP 44207), which also in-
cludes selections from Herrmann's
exciting scores for Journey to the
Center of the Earth, The Seventh
Voyage of Sinbad, and Fahrenheit
Herrmann's boundless ingenuity
at orchestration offers an almost
electronic sound even when he's deal-
ing only with conventional instru-
ments. Surely no composer can chal-
lenge him for sci-fi effectiveness. His
Mysterious Island, Jason and the
Argonauts, and The Three Worlds of
Gulliver are also available on London
Phase 4 (SPC 21137).
Ever since The Day the Earth
Stood Still (and the later invention of
the Moog Synthesizer) there have
been more sci-fi scores with elec-
tronic sounds than without. But no
movie has carried the idea further
than did Forbidden Planet in 1956.
Louis and Bebe Barron devised the
background for that CinemaScope
flight of fancy. It wasn't music at all.
The burbling, rumbling sounds sug-
gested not only a futuristic society,
but one so far in advance of our reali-
ty that it was truly incomprehensi-
ble! None of this background has
been recorded, but there's an alleged
theme by David Rose (MGM K
12243, MGM E 3397, MGM
SE-4271, and Cinema Records LP
8005) which does incorporate the
Barron sounds— but it ain't Forbid-
The score for The Andromeda
Strain, 1971, also used unmusical
sounds to excellent effect. The Gil
Melle score is available (but hard to
find) on Kapp (KRS 5513).
There's one more element of sci-fi
scoring that must be mentioned:
Generally, pop, rock, and jazz ap-
pears in films aimed at the high-
school and college audiences. Usual-
ly, such underscoring is disastrous—
however good the music may be on
its own terms. When the music con-
tains repeating patterns of any
kind— like rock rhythms or (heaven
forbid) lyrics— the pacing of the film
editing becomes "locked in" with
musical patterns. Also, the very pur-
pose of background music is to stress
emotional aspects of the story. Emo-
tions ebb and flow, rise and explode
and dissipate; they don't do the Frug
or the Charleston. Dance music
works against the picture— not with
makers' advantage to prevent their
audience from feeling much of
anything, in order to stress the com-
edy. Barbarella's humpy score by
Bob Crewe and Charles Fox was
recorded by Dot (DY 31908).
ian song and the end-of-the-world
story considerably heightened the
depressing nature of that film
(Roulette SR 25098).
However, Barbarella, 1968, had a
rock score that worked perfectly
well— because the film was not to be
taken seriously. It was to the film-
While not really science- fiction, the
beautifully photographed movie
based on Von Daniken's Chariot of
the Gods had an unusually effective
pop score. The music helped bolster
the travelog-like filming, while offer-
ing a pleasant entertainment apart
from the pictures. When needed for
dramatic effect, the score, by Peter
Thomas, dropped its rock rhythms
and soared into symphonic style. It
was released on Polydor (6504).
Peter Schickele's haunting score
for Silent Running, 1972, relied
heavily upon the pop culture of the
late 60 's. The score contained semi-
serious ecology protest songs— some
of them with Joan Baez vocals. Ap-
parently, Schickele hoped that the
viewers would be in tune with the
sentiments and music style of the
time and that, therefore, their emo-
tional understanding of the film's
anti-pollution theme would be in-
creased. But the score is now dated
and often works against the poignant
and melancholy emotions of the
story. Divorced from the movie,
however, the record is very inter-
esting (Decca DL 7-9188).
Most of the sci-fi music of the 60 's
and 70 's has been some combination
of the symphonic style of King Kong,
the electronic futurism of The Day
the Earth Stood Still, the "com-
puter" sounds of Forbidden Planet,
and the pop lingo of Barbarella. A
number of these new scores have
been inventive and beautiful, and are
available on records:
On the Beach, 1959, the doomsday
movie made from Nevil Schute's
novel, had a score by Ernest Gold
that was essentially variations on a
theme of "Waltzing Matilda." Sec-
tions are wistfully beautiful, and the
contrast between the cheery Austral-
Master of the World, 1961, was
scored by Les Baxter in a lilting lush
style reminiscent of another Jules
Verne movie score: Around the World
in 80 Days, 1956, composed by Victor
Young. Both scores stress that eu-
phoric vertigo of balloon travel, but
the Victor Young score is more am-
bitious and varied. Master of the
World was released on Vee-Jay (SR
4000), and the very popular 80 Days
music is still available in stores, in
well recorded stereo, on Decca (DL
2001: A Space Odyssey, 1968, had
an original score at first, but after
the Alex North music was recorded,
producer Kubrick decided to use ex-
isting serious compositions. In a few
weeks, he made more people familiar
with "Also Sprach Zarathustra"
than had heard it since it was com-
posed. Two volumes of music are
available on MGM, which are more
like symphony concerts than movie
scores (because that's what they
are)-(MGM SlE-13 ST and
SE-4722). The same scoring techni-
que was used for Rollerball, 1975, the
classics for which are compiled on
United Artists (UA-LA 470-G).
(Continued on page 65)
THE SANE SCIENTISTS
Not every scientist in fiction has been mad. photos by inserting the complete title for each
Most often, in fact, scientists are the heroes. . . movie. Next, mark the proper letter (A,B,C, etc.)
certainly in science fiction films. Below, there's a next to the Doctor or Professor who appeared in
directory of definitely sane (if occasionally mis- that film. Note: Several scientists are from the
guided) men of learning. Some are main charac- same films, but each movie has at least one scien-
ters . . . others are minor figures, but all of them tist listed in the directory.
appear (or are mentioned) in the classic science A score of 15 or better is EXPERT. 10 or higher is
fiction movies pictured on the opposite page. If VERY GOOD. Less than 10 means you need to stay
you think you're a trivia expert, first identify the up and watch the late shows more often.
Answers are on page 64.
1. Dr. Bronson, of Mount Kenna Observatory.
2. Dr. Edward Morbius, of the Bellerophon.
3. Dr. Jonathan Wilson, president of the International
Planetary Research Institute.
4. Dr. Felix Zentar, Professor of Astronomy at Cornwall Univer-
5. Dr. Clayton Forester, "... top man in astro and nuclear
6. John Putnam, his crucially important hobby was astronomy.
7. Dr. Tony Drake, confines his gazing "to the eyes, ears, nose,
8. Dr. Hendron, of the Cosmos Observatory.
9. Dr. Bilderbeck, of the Pacific Institute of Science and
10. Dr. Dupre, a first extraterrestrial biologist.
11. Dr. Gratzman, a scientist at Pacific Tech.
12. Professor Barnhart, a genius stumped on a problem of
13. Professor Oliver Lindenbrook, who followed in Arne
14. Dr. Miles Bennell, a general practitioner.
15. Dr. Qttenger, of the Esterbrook Observatory.
16. Dr. Fry, who believed that, in theory, rocket ships might fly to
17. Dr. Dan Kauff man, who held a mass-hysteria theory.
. 18. Dr. Cal Meacham, who believed in putting the nuclear horse
before the cart.
FILMS & STARS
Scan your memory bank to
recall these sci-fi and related
films. Can you match each
movie with one of its stars? All
of the capitalized words appear
in the puzzle maze upside-down,
rightside-up, forwards, back-
wards, and diagonally (see
example). Match answers ap-
pear on page 64.
The ANDROMEDA Strain
Planet of the APES
When Worlds COLLIDE
Things to COME
The Day the EARTH Stood Still
The Invisible MAN
First Men in the MOON
ONE Million B.C.
The SATAN Bug
The TIME Machine
You Only Live TWICE
A VISIT to a Small Planet
The WAR of the Worlds
(Continued from page 56)
moving objects in the loch really are." It will be in-
teresting to compare their results with the "results"
reported in Nessie.
Locked up somewhere in their gigantic vaults, Warner
Brothers has what is reportedly a fine film: The Ultimate
Warrior. It stars Yul Brynner and Max von Sydow— in a
future New York where civilization has been reduced to
savage and primitive conditions due to pollution. At this
date, it is impossible to say if and when The Ultimate
Warrior will be shown in the United States. The film,
which is now making its way around England, might have
a better chance for American release if Warner Brothers is
reminded that there are actually people who enjoy science
fiction! You can write to Warner Brothers at: Warner
Brothers, 75 Rockefeller Plaza, New York, N.Y., 10019.
Steven Spielberg— who directed Jaws— has written and
is directing a new sci-fi extravaganza: Close Encounters of
the Third Kind. According to recent reports, the film is
behind schedule and over budget . . . and it's no wonder.
Originally budgeted at $10 million, the film to date has
spent half that amount on special effects alone. The
budget is now officially $12 million and is still climbing.
Spielberg discovered that there were no sound stages in
Hollywood large enough to house his special-effects
climax; so he leased two aircraft hangers in Mobile,
Alabama, which is where the film is being largely made
(they'll finish up with some interior sets in Hollywood and
crowd scenes in India).
If you're in the Mobile area, be advised: the set is not
only closed to visitors, it is under 24-hour guard. Ap-
parently, the effects are on the dangerous side, and
Spielberg is determined to keep his visuals a deep dark
secret until the film is released.
In charge of special effects: Douglas Trumbull (who did
2001 and. Andromeda Strain). Release date: Easter week,
1977. A Dell paperback novelization will be published to
coincide with the premiere.
Although the whole project is shrouded in secrecy, it has
been learned that the story concerns men on earth and
visitors from elsewhere. To stress their dedicated atten-
tion to detail and scientific accuracy, the producers are
calling their imaginative outing a "science fact" movie.
Roger Zelazny's popular novel, Damnation Alley, is be-
ing filmed at 20th Century-Fox, produced by Jerome Zeit-
man and Paul Maslansky. Screenplay by Alan Sharp and
Lukas Heller. Directed by Jack Smight. Starring: Jan-
Michael Vincent, Dominique Sanda, George Peppard and
Paul Winfield. Clearly, this will be a major, high-budget ef-
INVASION IN 3-D
Monarch Releasing Company has just announced the fall
premiere of The Fantastic Invasion of the Planet
Earth— to be released in a new three-dimension process.
Monarch president Allan Shackleton said the new process
"is a far cry from what exhibitors knew in the past."
(Back in the '50s, The Creature from the Black Lagoon and
It Came from Outer Space were released in black & white
Shackleton said the enthusiastic response he's received
since revealing his 3-D project has encouraged him to plan
sevesal more movies in the new process.
BITS AND PIECES
. . . MGM began fuming Demon Seed with Julie Christie
last May; produced by Herb Jaffe, directed by Donald
Cammell, it's due for autumn release . . . Piranha, pro-
duced by Michael Ullman, began filming July 15 . . .
American International starts shooting a remake of H.G. .
Wells' The Island of Dr. Moreau on September 15 (the
first film version starred Charles Laughton and was called
Island of Lost Souls) . . . The Cars of Apocalypse— a "sci-fi
race-to- the-death thriller" —will film in France early next
year; budgeted at $3 million, it stars Peter Fonda and Jim
Mitchum . . . War Wizards— part live and part
animated— is due for autumn release . . . There's a French-
made parody of King K ong— called Queen Kong, in which
a lady ape loves a handsome, lad— making its way
around Europe . . . Crocodile — a nature-gone-amuck horror
venture— is about convict girls working in an Australian
swamp; Burt Lancaster has been signed to star . . .
Micronauts will be filmed in England by Harry Saltzman
(of James Bond movie fame) with an $8.5 million budget . . .
The Sentinel, from the best-selling novel, has completed
its location work in New York.lt stars Jose Ferrer, Ava
Gardner, John Carradine, Martin Balsam . . . The Astral
Factor— with Robert Foxworth, Elke Sommer, and Percy
Rodriguez— is due for completion this fall ... -^
Over ONE MILLION science fiction fans read STARLOG each issue. Our readers
are invited to purchase classified space in this regular section and to share
news of their products and activities with others interested in the field.
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Rims & Stars:
17 Arness (The Thing)
21 Barry (War of the Worlds)
14 Basehart (The Satan Bug)
8 Beery (Lost World)
7 Fonda (Fail Safe)
2 Heston (Planet of the Apes)
1 Hill (Andromeda Strain)
11 Jeffries (First Men in the Moon)
20 Lewis (Visit to a Small Planet)
4 Massey (Things to Come)
13 Nielsen (Forbidden Planet)
10 Peck (Marooned)
9 Rains (Invisible Man)
5 RennielDaythe Earth Stood Still)
3 Rush (When Worlds Collide)
19 Sean Connery (You Only Live Twice)
15 Sellers (Dr. Strangelove)
18 Taylor (The Time Machine)
12 Welch (One Million B.C.)
6 Werner (Fahrenheit 451)
16 Whitmore (Them)
The Sane Scientists:
A - The Day the Earth Stood Still: 12.
B - War of the Worlds: 5, 9, 10, 11.
C - When Worlds Collide: 1, 3, 4, 7, 8, 15, 16.
D - Forbidden Planet: 2.
E — The Invasion of the Body Snatchers: 14, 17.
F - This Is/and Earth: 18.
G — Journey to the Center of the Earth: 13.
H — It Came from Outer Space: 6.
STARLOG No. 3
NOVEMBER 23, 1976
of the Spheres
(Continued from page 59)
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Planet of the Apes, 1968, utilized a
highly abstract symphonic score by
Jerry Goldsmith. While this bristling
music can be nervewracking to sit
down and listen to, it was an in-
genious accompaniment in the film.
There was always a danger of unin-
tentional humor in the Apes
movies— with all that monkey busi-
ness happening on the screen.
Goldsmith's score is so profoundly
devoid of humor that one is never in-
vited to chuckle. Leonard Rosen-
man's score for Beneath the Planet of
the Apes (Amos Records AAS 8001),
continued in the Goldsmith tradition.
Day of the Dolphin, 1973, was ac-
companied by a charming, sunny,
tense score by Academy Award win-
ner George Delerue. The music was
arranged for a small orchestra—
about like that required for a Bach
Brandenberg Concerto. It's a
delightful marriage of harpsichord
and sonar bleeps!
Hollywood, it seems, has just
recently rediscovered that there's a
vast and growing hoard of ticket-
buyers who can't seem to get enough
science-fiction. Many of the movies
in production now have multi-
million-dollar budgets, and that
means they'll be paying for the best
music money can buy.
True, many of the giants of the in-
dustry are dead— Max Steiner, Ber-
nard Herrmann, Franz Waxman—
but these composers were newcomers
once, too. We can expect great music
today from the likes of Jerry
Goldsmith (who just turned out the
grand-scale score for Logan's
Bun— MGM MG-1-5302), John Wil-
liams (who did the fringe-area sci-fi
Jaws, Earthquake, and Towering In-
ferno scores), and many others. More
and more, these scores are being
released as record albums.
The future is once again on its way
to our local movie theaters, and it is
up to the music scores to give those
visions depth and dimension ... to
make the future soar. JL
A limited edition of beautifully
printed photo albums is available
right now for true nostalgia lovers.
Each collection consists of eight
rare glossy photos (8"xl0") suitable
for framing. Complete with a
handsome protective binder, each
set includes an identification fact
sheet to give you interesting data
about the pictures.
We are offering both albums at
less than half of what you'd expect
to pay (if you could find them) in
collectors' shops. Order today,
while this special price offer lasts,
and don't forget what ideal gifts
Collector's Photo Albums would
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with the golden age of Hollywood
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Plus 30 1 each for postage.
Like the air at the top of Everest, the rarified at-
mosphere of Mars has led us to climb— mainly because it's
there. Long before the Viking missions, mankind had ex-
plored Mars in minute detail: the deserts, the lost civiliza-
tions, the canals, the permafrost, the tundra, the wild and
wonderful inhabitants of that cold and angry planet. And
some of those guesses— by H.G. Wells, Edgar Rice Bur-
roughs, Ray Bradbury, Robert Heinlein, and others— have
proved remarkably prophetic.
In the film Robinson Crusoe on Mars, the sky was
reddish— in fact, it's pink from the airborn red dust. The
hero of the film survived through his discovery of large
quantities of oxygen released from burning rocks— in
fact, the soil contains an astonishing amount of oxygen
that can be released by heat. The hero's lander crashed in
a desert terrain and his tragedy was re-emphasized each
time he saw his inaccessible orbiter fly overhead— in fact,
the Viking lander could easily have suffered destruction
among the desert boulders of the Chryse Planitia.
This photo taken by Viking 1 shows Vallis
Marineris, Mars' Grand Canyon, just below an
area of cloud activity near the north pole.
The south pole is in darkness at lower left.
Destination Moon's rocket was very similar to
the German V2, designed by the same man in charge
of development of the Saturn V, Werner von Braun.
Left: A scene from Robinson Crusoe on Mars. The
differences from the actual landscape around Vik-
ing I (above) could be accidents of geography.
FUELING THE SPACE SHIPS
OF THE MIND
Above left: This is a typical space suit from
Destination Moon (1950). Above right: Apollo 11
astronaut Edwin Aldrin Jr. descends to the moon.
Aristotle claimed, in his "Poetics," that fiction is more
vital than history— because history merely presents what
is, while fiction presents what might be and ought to be.
And it seems incontestable that no category of fiction
has so influenced the course of progress and the scope of
human accomplishment as has science fiction.
Repeatedly, astronauts and scientists at NASA— when
asked what or who prompted them to enter space
science— answered: Jules Verne, H.G. Wells, Arthur C.
Clarke, Isaac Asimov, the juvenile science-fiction series of
Robert Heinlein, and so on.
The most official acknowledgement of the role of fiction
in the development of science might be an entry in
NASA's published chronology of the Apollo program,
Volume 1. A brief note on the formative years 1949-1952
establishes the most important events leading to the
Apollo moon missions:
The 1949 publication of Willy Ley's The Conquest of
Space— a beautifully presented scenario for man's
departure from Earth, with illustrations by Chesley
The 1952 publication of Arthur C. Clarke's The Explora-
tion of Space which was a book-of-the-month club selec-
And, most significantly, the wide-spread acceptance of
George Pal's 1950 film of Robert Heinlein's Destination
Moon which depicted in accurate detail a successful
American landing on the moon, in which the satellite was
claimed for peaceful purposes in the name of the United
States, "for the benefit of all mankind."
The future— as it might be and ought to be— was seen
by millions, almost twenty years before Neil Armstrong's
"small step" became another page of history.
The original television soundtrack.